■BaflOHHSEI 


THE  J.  PAUL  GETTY  MUSEUM  LIBRARY 


Digitized  by  the  Internet  Archive 

in  2013 


http://archive.org/details/oldmodernmasters01vale 


OLD  AND 
MODERN  MASTERS 

IN  THE  COLLECTION 

OF 

M-C-D  BORDEN 

CATALOGUED    BY 

WILHELM  R-VALENTINER 

&  AUGUST  E  •  JACCAC1 

VOLUME  ONE 


NEW  YORK 
PRIVATELY  PRINTED 
MCMXI 

'H 


Copyright,  ign,  by 
Frederic  Fairchild  Sherman 


CONTENTS 


VOLUME  I 
Paintings  by  Old  Masters,  Wilhelm  R.Valentiner 
Early  Dutch,  Flemish  and  Italian  Masters 


Cuyp,  Aelbert 
De  Hooch,  Pieter 
Guardi,  Francesco 


Hals,  Frans 
Hobbema,  Meindert 
Teniers,  David  (The 

Younger) 
Terborch,  Gerard 
Van  deVelde,  Willem 
Van  Dyck,  Anton 
Van  Ostade,  Isack 
Van  Ostade,  Adriaen 
Van  Rijn,  Rembrandt 
Van  Ruisdael,  Jacob 

Wouwerman,  Philips 

Wynants,  Jan 


Man  Eating  Mussels     .... 

The  Music  Party 

The  Piazza  of  San  Marco,  Venice 
The  Grand  Canal  near  the  Piazza 

San  Marco,  Venice     . 
The  Reverend  Caspar  Sibelius 
Castle  Kostverloren 

Woman  Smoking  in  an  Inn     . 
Lady  Pouring  Wine     . 

Calm  Sea 

Portrait  of  a  Gentleman 
Peasants  before  an  Inn 
Backgammon  Players  at  an  Inn 
Lucretia  Stabbing  Herself 

The  Cascade 

A  Waterfall 

Grooms  Watering  Horses 
The  Sutler's  Booth 
Hilly  Landscape  with  Grove  of 
Trees 


Paintings  of  the  English  Masters,  August  F.  Jaccaci 
English  Masters 


Chrome,  John 

Constable,  John    . 

Gainsborough,  Thomas 

Hoppner,  John 

Lawrence,  Sir  Thomas 

Millais,  Sir  John  Everett  The  Pet  Bird 

Morland,  George        .      .   Rustic  Scene 

3 


The  Willow      . 
The  Sluice    . 
Miss  Ann  Horde 
Mrs.  Arbuthnot 
Miss  Kent     .      . 


26 

37 
74 

79 
31 
32 

73 
55 
56 
68 

43 

38 

44 

49 

5° 
61 

62 

67 
83 

118 
117 

99 
112 

100 

1  3  5 

129 


English  Masters — Continued 


Nasmyth,  Patrick 
Reynolds,  Sir  Joshua 
Romney,  George 


Tadema,  Sir  Alma 
Turner,  ].  M.  W. 


.    Edinburgh  from  Gogar 

.   Miss  Morris 

.   The  Willett  Children  .      . 

Countess  of  Glencairn(?)    . 

Lady  Hamilton  as  Madonna 
.   Unwelcome  Confidence    . 

The  Cliffs  at  Dover 

East  Cowes  Castle,  the  Seat  of  J 
Nash,  Esq. — The  Regatta  Bears 
ing  to  Windward       .... 

VOLUME  II 

Paintings  of  the  Modern  French,  Dutch,  German  and 

American  Masters,  August  F.  Jaccaci 

Modern  French  Masters 


i  30 
94 

106 
iii 
136 
123 


124 


Bonheur,  Rosa     . 

Breton,  J.  Adolphe 
Corot,  J.  B.  Camille 


Daubigny,  C.  Francois 

Daumier,  Honore 
Decamps,  A.  Gabriel 
Delacroix,  Eugene 
De  Neuville,  Alphonse 
Detaille,  Edouard 

Diaz,  Narcisse  Virgile 

Dupre,  Jules    . 


Highland  Cattle  and  Sheep  on  a 

Mountain  Pasture 
La  Fin  de  la  Recolte 
Bohemienne  a  la  Fontaine 
Le  Pont  de  Mantes 
Le  Bateau  au  Clair  de  Lune 
La  Cueillette  au  Bord  du  Chemin 

Mantes4a=Jolie 

The  Willows 

The  Banks  of  the  Oise.    Summer 
Le  Wragon  de  Troisieme  Classe 
Les  Petits  Nautonniers 
Combat  en  Algerie 
Prisonniers  de  Guerre  . 
Prussian  Cuirassiers  Attacking  a 

French  Convoy     .... 
La  Diseuse  de  Bonne  Aventure 
Sunset  near  Fontainebleau 
Pasturage  near  Llsle^Adam    . 

4 


112 

1  3  5 

52 
57 
58 
63 
88 

93 
94 
46 

45 
40 

130 

129 

99 
100 

76 


Modern  French  Masters — Continued 


Dupre,  Jules 


Fromentin,  Eugene    . 
Gericault,  Theodore 
Gerome,  J.  L.         . 
Greuze,  J.  Baptiste     . 
Henner,  J.  Jacques     . 
Meissonier,  J.  L.  Ernest 
Monticelli,  Adolphe 

Millet,  Jean  Francois 
Rousseau,  Theodore 


Troyon,  Constant 
Vibert,  J.  Georges 

Modern  Dutch  Masters 

Mauve,  Anton 
Neuhuys,  Albert 

Modern  German  Masters 

Defregger,  Franz. 
Dieffenbach,  H.  A. 
Knaus,  Ludwig    . 
Litschauer,  Joseph 
Siegert,  August    . 


Landscape 81 

Landscape 82 

Landscape 87 

A  la  Fontaine 117 

The  White  Horse 30, 

Bonaparte  en  Egypte    .      .      .      .124 

Innocence 34 

Magdalen 123 

A  Cavalier 118 

Court  d  Amour 105 

Romantic  Scene 106 

Le  Gardeur  de  Moutons     .      .      .111 

The  Pool 64 

Landscape 69 


Sunset 
The  Pool  in  the  Forest  . 
The  Approaching  Storm 
A  Theological  Quarrel 

Winter  Landscape 
Mother  and  Children    . 

The  Adventure 
Girl  and  Child    . 
A  Bavarian  Holiday     . 
The  Counterfeiters 
The  Old  Grandmother 


7° 

75 

51 
136 


142 
147 

1 64 
158 
163 
152 

157 


Modern  American  Masters 

Inness,  George      .      .      .   Sunset 181 

Sunset  (Montclair)         .      .      .      .182 
McEntee,  Jervis  .      .      .   Autumn  Landscape  with  Figures   176 

Whittredge,Wrorthington  Scene  in  a  Park 175 

Wyant,  Alexander  .      .   The  Approaching  Storm    .      .      .170 

5 


VOLUME  I 
PAINTINGS  BY  OLD  MASTERS 


PAINTINGS  BY  OLD  MASTERS 

By  Wilhelm  R.  Valentiner 

DUTCH  SCHOOL 

[HE  principal  pictures  of  the  old  masters  in  Mr. 
Borden's  collection  are  works  by  recognized  mas? 
ters  of  the  best  period  of  the  Dutch  School,  the 
second  third  of  the  seventeenth  century.  The 
various  manners  of  expression  of  Dutch  painting 
are  excellently  represented,  the  portrait,  genre, 
landscape  and  seascape;  even  subjects  of  classical 
antiquity,  which  are  but  seldom  and  with  little  success  cultivated 
in  Holland,  are  represented  by  a  masterpiece  of  Rembrandt's,  the 
dying  Lucretia. 

We  shall  begin  with  Frans  Hals  and  Rembrandt,  the  great  men 
who  dominate  the  school  by  their  strong  personalities,  and  force  into 
the  two  distinct  channels  they  individually  followed  all  its  lesser 
masters.  Although  Frans  Hals  lived  to  see  the  fruits  of  peace  begin  to 
ripen  in  his  later  years,  he  represents  the  people  who  lived  in  a  state 
o£  war,  the  long  war  in  which  Holland  and  the  "whole  of  Europe 
were  engaged  in  at  the  time.  Rembrandt,  who  belongs  to  a  little 
younger  generation,  is  the  representative  of  the  same  community  in 
a  state  of  peace,  and  his  style  full  of  feeling  and  thought  was  devel? 
oped  under  the  stimulus  of  the  hard  and  rough  experiences  of  the 
preceding  period.  Yet  Frans  Hals'  artistic  activities  extended  almost 
to  the  death  of  Rembrandt;  his  realistic  conception  depending  upon 
momentary  expression,  and  that  of  Rembrandt,  quiet,  soulful  and 
absorbed,  are  therefore  contemporaneous.  "We  may  safely  say  that 
one  was  evolved  from  the  other,  and  also,  that  the  manner  of  Rem? 
brandt  dominated  Dutch  art  after  the  fifties. 

These  two  absolutely  different  conceptions  are  very  well  illus* 
trated  by  two  works  in  the  possession  of  Mr.  Borden;  Hals' portrait 

9 


o£ the  "Reverend.  Caspar  Sibelius,"  dated  1637,  and  the  "Lucretia"  of 
Rembrandt,  painted  in  1664.  The  Hals  is  one  of  the  works  in  which, 
concentrating  his  broad,  free  art  within  the  limits  of  a  small  canvas, 
the  artist  accomplishes  all  the  more  astonishing  results.  As  soon  as  it 
-was  completed,  this  painting  was  twice  engraved  by  J.  Suydenhoef, 
one  of  the  best  Dutch  engravers  of  the  time,  and  has  become  especially 
well  known  for  that  reason.  Since  several  pictures  by  Frans  Hals, 
and  of  similar  size,  are  available  in  engravings  of  the  time,  it  is  logical 
to  assume  that  the  artist  chose  a  small  canvas,  to  which  he  was  unac? 
customed,  out  of  consideration  for  the  engraver.  The  work  belongs 
to  the  best  period  of  his  career,  when  with  his  peculiar  vivacious* 
ness  he  combined  a  comparatively  painstaking  and  finely  studied 
technique;  when  instead  of  the  rugged  figures  of  his  earlier  period 
he  pictured  jovial  contentment,  and  supplanted  by  a  transparent 
gray  tone,  his  early  garish  color  schemes.  It  was,  furthermore,  in  the 
latter  half  of  the  thirties,  the  time  when  this  portrait  was  painted, 
that  Frans  Hals  painted  some  of  his  best  works:  the  "Portrait  of  a 
Painter"  and  the  "Portrait  of  an  Old  Woman"  from  the  Yerkes 
Collection,  both  of  1635,  and  both  now  in  the  Frick  Collection,  the 
portrait  of  Michielde  Wael(i638)  in  the  possession  of  Mr.  Morgan, 
and  the  two  companion  pictures  of  the  same  year,  in  Frankfort.  It  is 
rare  that  we  should  know  the  personality  of  Hals'  sitters,  as  in  this 
case  of  Sibelius,  who  was  born  in  Germany  and  enjoyed  a  reputation 
as  a  preacher  in  England,  Switzerland,  and  finally  also  in  Holland. 
If  the  inscription  on  the  back  of  the  canvas  is  correct,  we  also  know 
the  name  of  its  first  owner,  a  certain  Professor  Hoffmann,  to  whom 
it  is  said  to  have  been  presented  by  Sibelius  himself. 

We  may  wonder  how  it  came  about  that  an  artist  like  Frans 
Hals,  whom  we  picture  mentally  as  a  manner  of  Falstaff,  should  be 
particularly  successful  in  portraying  ministers  of  the  Gospel ;  yet  he 
painted  many  of  them.  It  is  clear  that  an  understanding  of  naive 
piety  such  as  was  imparted  by  gentle  preachers,  was  not  incompat* 
ible  with  the  rough  belligerent  natures  of  that  time.  In  fact,  war 
itself  aided  in  furthering  the  influence  of  the  priests,  for  a  nation 
whose  chief  preoccupation  is  the  defense  of  its  territory  is  more  apt 
to  give  the  church  its  rights  than  a  people  living  in  peace  and  having 

10 


time  for  reflection  and  therefore  for  scepticism.  These  Dutch  min= 
isters  also  seem  to  have  fostered  a  simple  conception  of  life  quite  in 
accordance  with  the  practical  problems  so  close  at  hand,  and  by- 
means  of  a  jovial  cordiality  to  have  brought  themselves  close  to  their 
flock.  Sibelius  is  not  portrayed  as  a  complex  nature ;  on  the  contrary, 
his  friendly  bearing,  the  clear,  intelligent  look  in  his  small  eyes,  the 
encouraging,  eloquent  position  of  his  hands  does  not  reveal  a  man  of 
philosophical  and  speculative  mind  with  thoughts  running  in  deep 
channels,  but  one  of  simple  nature  who  understands  his  immediate 
task  of  heartening  and  comforting.  The  artist  himself  "was  the  same 
sort  of  man  as  his  sitter. 

Frans  Hals'  art  depicts  instantaneous  impressions,  and  it  is  for  this 
reason  that  his  figures  seem  so  direct  and  lifelike  to  us.  But  one  artist 
above  all  others,  Rembrandt,  understood  the  combination  of  reality 
with  delicately  shaded  psychic  expression.  His  picture  in  the  Bor? 
den  Collection  is  a  striking  example  of  this  combination.  It  belongs 
to  the  artist's  later  period  and  is  one  of  the  most  magnificent  and 
effective  of  its  works.  Toward  the  close  of  his  career  the  artist  con* 
fined  himself  to  painting  figures,  somewhat  statuesque  in  character, 
whose  drastic  gestures  are  similar  to  those  used  in  operatic  acting ; 
the  whole  field  of  expression  being  transferred  to  the  depicting  of 
the  inner  life,  and  the  rendering  of  the  atmosphere  in  which  his  figs 
ures  are  placed.  Such,  surely,  is  the  case  with  Lucretia.  Her  pose 
seems  borrowed  from  the  theatre ;  she  stands  as  though  in  the  centre 
of  the  £tage,  with  both  hands  equally  raised.  This  subject  of  Lucretia 
in  the  act  of  self  destruction  was  not  a  new  one,  and  it  is  quite  pos= 
sible  that  the  artist  knew  some  of  the  pictures  by  the  great  Venetian 
artists,  Titian  and  Palma  Vecchio,  where  the  dying  Lucretia  is  repre* 
sented  at  half  length.  In  the  figure  of  the  Northern  master,  we  do 
not  readily  note  anything  unusual.  Primarily  we  recognize  a  well* 
known  model  often  used  by  him  in  his  later  years,  and  that  she 
wears  a  costume  and  jewelry  we  know  to  have  belonged  to  him.  The 
picture  therefore  has  a  portrait^like  character.  In  fact,  the  whole 
o£  Rembrandt's  work  is  portraiture.  But  despite  this  simple,  almost 
crude  composition,  there  is  something  in  the  picture  which  makes  it 
one  of  the  wonderful  creations  of  the  great  artist.  Considering  first 

ii 


the  technique  and  color,  one  sees  the  figure  looming  through  a  flood 
of  golden  tones  laid  in  broad  masses  and  glittering  in  the  jewelry; 
and  the  pale  face  appears  as  seemingly  blurred  by  a  diaphanous  veil 
of  sunny  mist.  At  every  point  one  is  made  aware  of  the  master  hand 
schooled  in  hundreds  of  pictures  which  are  great  achievements;  the 
broad  strokes,  accurately  subservient  to  the  will,  clearly  indicate  that 
disdain  for  the  vehicle  which  only  the  greatest  men  can  show,  and 
only  in  their  best  works,  and  then  unconsciously.  But  all  this  ex* 
ternal  splendor  is  surpassed  by  the  intensity  of  psychic  expression. 
Who  can  resist  the  appeal  of  this  pitiful  face,  so  despondent  in  its 
mental  anguish;  or  the  suggestion  of  life  seemingly  ebbing  from  the 
body  even  before  the  dagger  has  touched  the  breast;  or  again,  the 
effect  of  this  most  touching  silhouette  of  the  slightly  inclined  head, 
and  the  hand  outstretched  in  a  gesture  which  speaks  of  fear  and 
resignation?  Quite  unique  in  art  is  this  combination  of  a  broad  dec; 
orative  effect  with  this  extraordinary  expression  of  distinct  feelings, 
seemingly  too  subtle  for  expression  with  the  brush;  the  combina* 
tion,  furthermore,  of  the  real  and  convincing  human  appeal  of  the 
portrait  with  the  distant  fantasy  of  an  Oriental  fairy  tale.  It  is  per? 
haps  because  of  the  concentration  of  the  whole  action  in  a  single 
figure,  that  just  as  thoughts  flow  most  freely  in  a  monologue,  the 
artist  has  succeeded  so  strikingly  in  his  presentation. 

Apart  from  Hals  and  Rembrandt,  the  remaining  masters  of  the 
Dutch  School  can  be  grouped  according  to  their  respective  fields.  At 
the  same  time  it  is  obvious  that  practically  all  are  under  the  influence 
of  the  two  great  masters,  and  that  many  of  them  have  developed 
from  the  manner  of  Frans  Hals  into  that  o{  Rembrandt.  This  is 
notably  the  case  with  the  genre  painters,  who  are  represented  by 
four  pictures — one  by  Terborch,  one  by  each  of  the  Ostades,  and  one 
by  Cuyp.  Of  all  but  the  last  of  these  it  may  be  said  that  they  came 
from  the  school  of  Frans  Hals  and  were  later  influenced  by  Rem* 
brandt. 

Terborch  is  the  best  representative  painter  of  genre  subjects  de* 
picting  the  life  and  manners  of  the  upper  classes  in  Holland;  and  his 
own  life  illustrates  the  rise  of  the  professional  artist  to  a  higher  social 
position.  Terborch  was  born  in  1617  and  is  ten  years  Rembrandt's 

12 


junior.  Two  generations  of  important  masters  had  preceded  Kim,  his 
father  was  himself  an  industrious  painter  holding  an  official  position 
in  his  home  town,  Zwolle ;  therefore  in  the  choice  of  a  profession  he 
had  no  such  parental  difficulties  to  overcome  as  had  Rembrandt.  He 
could  afford  to  travel,  first  in  Holland,  then  in  England  and  prac* 
tically  on  the  whole  Continent,  and  had  every  opportunity  for  the 
cultivation  of  his  art.  As  early  as  in  the  forties  he  became  the  painter 
of  the  highest  political  circles  of  the  time;  in  1648  he  painted  the 
assembled  delegates  to  the  Congress  of  Minister  at  the  close  of  the 
Thirty  Years'  V/ar ;  later  he  was  called  to  Madrid  by  the  Spanish 
Minister  Peneranda  and  is  there  said  to  have  painted  a  likeness  of 
Philip  IV.  When,  after  traveling  in  Italy  and  England,  he  returned 
home,  settling  down  and  getting  married  in  Deventer,  he  was  overs 
whelmed  with  honors  and  received  from  distinguished  citizens  and 
statesmen  enough  commissions  to  keep  him  busy  for  the  rest  of  his 
days.  That  the  artist  was  a  man  of  the  world  and  of  good  breeding 
may  be  gathered  from  his  portrait  in  Spanish  costume  by  his  own 
hand  which  is  now  in  the  Gallery  at  The  Hague.  In  the  development 
of  his  art  we  note  the  growing  social  prestige  which  he  enjoyed. 
The  military  pieces  betraying  the  influence  of  Frans  Hals  belong  to 
his  early  years;  in  his  middle  period,  the  late  forties,  he  painted  the 
charming  genre  subjects,  full  of  a  sedate  and  well-bred  bourgeois 
atmosphere,  which  depict  his  own  domestic  environment ;  and  in  the 
work  painted  in  the  fifties  appear  satin  robes  and  cavaliers  in  scenes 
of  the  life  of  the  beau  monde.  The  feeling  for  elegance,  which  pre* 
supposes  a  broad  knowledge  of  the  world,  manifests  itself  in  his  easy 
fluent  technique,  and  in  the  influences  which  swayed  him.  Just  as  he 
follows  Frans  Hals  in  his  earlier  period,  so  later  he  is  influenced  by 
the  Dutch  painters  of  the  bourgeoisie,  and  what  is  more,  his  versa* 
tile  art  shows  also  the  influence  of  the  great  foreign  artists — Titian, 
Velazquez  and  Van  Dyck. 

The  picture  in  the  Borden  Collection  is  of  the  middle  period  and 
is  quite  after  the  manner  of  Metsu,  who,  being  the  younger,  must 
have  been  the  borrower.  Furthermore,  the  strong  vermilion  in  the 
costume  of  the  young  woman — a  color  rarely  found  in  Terborch — as 
well  as  the  chiaroscuro,  shows  that  this  picture  originated  at  a  time 

x3 


when  Dutch  artists  worshipped  at  the  shrine  of  Rembrandt.  While 
the  women  in  the  group  belong  to  the  simple  bourgeois  class,  the  ele* 
gantly  dressed  cavalier  evidences  that  tendency  of  the  artist  which 
was  soon  to  help  him  get  out  of  this  environment  into  the  aristocratic 
world. 

Aelbert  Cuyp,  who  is  represented  in  an  unusual  way  by  a  genre 
picture,  enjoyed  like  Terborch  the  respect  of  his  community.  He 
filled  important  and  honorable  positions  in  his  native  town  of  Dord; 
recht  and  was  the  owner  of  a  small  estate  outside  the  city.  Unlike 
Terborch,  he  felt  no  desire  to  travel,  but  remained  always  in  the  quiet 
milieu  whence  he  came,  and  only  the  warm  southern  light  which 
appears  in  his  landscapes  indicates  an  appreciation  of  other  climes. 
The  "Mussel  Eater"  also  gives  a  faithful  picture  of  the  surroundings 
of  the  artist.  We  look  into  a  smithy  in  which  the  owner  sits  upon  the 
anvil.  Before  him  is  a  bowl  full  of  mussels,  one  of  which  he  is  eating 
while  two  children  interestedly  follow  his  motions.  The  somewhat 
stiff  attitudes  leave  no  doubt  that  the  three  are  portraits,  and  that  this 
picture  is  a  group  of  portraits  arranged  as  a  genre  scene,  as  is  further 
demonstrated  by  the  two  men  looking  in  at  the  window  to  the  right 
who  are  also  treated  in  a  decidedly  portrait4ike  fashion.  It  may  be 
that  the  older  man  is  the  pater  familias  and  the  other  his  sons.  At 
any  rate,  this  picture  is  a  reproduction — either  executed  by  the  artist 
or  done  by  a  pupil — of  a  larger  one  in  the  museum  at  Rotterdam, 
from  which  it  differs  in  several  details.  The  somewhat  unnatural 
position  of  the  hand  of  the  older  man  in  Mr.  Borden's  example  is 
explained  by  the  Rotterdam  picture  in  which  he  holds  a  glass  of 
wine;  the  girl  in  the  latter  holds  an  apple  instead  of  a  pipe,  and  the 
child's  head  just  visible  behind  the  barrel,  as  well  as  the  cat  in  the 
foreground,  have  been  entirely  omitted  in  the  present  canvas.  Also 
the  complete  signature,  A.  Cuyp  fecit,  is  replaced  in  our  picture  by 
the  monogram  A.  C. 

In  Pieter  de  Hooch's  "Music  Party"  we  have  a  typical  example 
of  the  genre  picture  of  aristocratic  subjects,  the  third  phase  of  Dutch 
genre  art,  when  it  came  under  French  influence  and  began  to  lose 
its  national  character.  Pieter  de  Hooch  was  not  an  artist  of  social 
standing  like  Terborch  or  Cuyp ;  he  lived  in  extremely  poor  circum* 

14 


stances,  having  started  in  life  by  being  a  servant  in  a  noble  house* 
hold.  But  together  with  the  two  masters  we  have  just  mentioned, 
as  well  as  with  all  the  artists  who  lived  until  about  1680,  he  was 
affected  by  foreign  influences.  His  artistic  development  is  of  a  kind 
with  Terborctfs.  Like  him,  he  began  with  military  pieces,  then  in 
his  middle  and  best  period  he  painted  bourgeois  genre  pictures,  and 
in  his  later  period  he  depicted  scenes  of  the  life  of  the  higher  and  more 
elegant  society.  But  in  his  last  period  is  also  to  be  noted  a  decrease  in 
artistic  feeling,  greater  in  his  case,  and  perhaps  the  result  of  discourage* 
ment  at  his  lack  of  success.  The  picture  in  the  Borden  Collection  is 
one  of  the  best  in  his  last  manner.  While  the  drawing  of  the  figure  is 
heavy  and  the  whole  arrangement  somewhat  stiff,  the  picture  never* 
theless  has  excellent  qualities.  Several  of  the  faces,  not  de  Hooch's 
strong  point  by  any  means,  are  especially  attractive  and  the  garments 
are  painted  with  a  fine  feeling  for  texture  and  a  good  sense  of  color. 
The  influence  of  French  academic  art  manifests  itself  in  the  emphasis 
laid  upon  horizontal  and  vertical  lines,  by  means  of  which  the  figures 
at  the  table  are  practically  enclosed  in  a  square.  The  garden,  which 
is  also  in  the  French  style,  and  arranged  and  pruned  in  rectilinear 
fashion,  contains  a  structure  in  the  classic  style  patterned  after  the 
Amsterdam  City  Hall. 

The  best  representative  painters  of  genre  subjects  of  the  lower 
classes,  Jan  Steen  alone  excepted,  are  the  two  Ostades,  each  of  whom 
is  represented  in  the  Borden  Collection :  Adriaen  by  an  interior  with 
gaming  peasants,  Isack  by  an  inn  stable.  The  older  Ostade  employed 
his  great  and  long  admired  art  in  the  presentation  of  the  chiaroscuro 
of  picturesque  peasant  interiors  within  which  the  gaudy  costumes 
of  stoutish  inmates  compose  subdued  harmonies;  while  the  younger 
brother  preferred  to  reproduce  the  chiaroscuro  of  outdoor  scenes 
in  the  late  afternoon  under  the  shady  trees  and  bowers  sheltering 
peasant  cottages .  Isack  stands  in  the  same  relation  to  Adriaen  Ostade 
as  does  Hobbema  to  Ruisdael.  Isack  is  the  pupil  and  the  more  temper* 
amental  of  the  two ;  like  Hobbema,  he  achieves  in  his  best  works 
more  fascinating  effects  than  the  older  master;  but,  on  the  other 
hand,  he  is  less  balanced,  and  seldom  succeeds  in  doing  his  best  unless 
when  guided  by  youthful  impulse.  Like  him  also,  he  is  monotonous 

J5 


in  his  composition  as  -well  as  less  original,  but  broader  in  his  execution 
and  in  his  light  and  color  effects.  The  composition  of  the  charming 
picture  in  the  Borden  Collection  is,  like  that  of  the  majority  of  his 
pictures,  reminiscent  of  an  older  style,  that  of  older  landscapists — 
Van  Goyen  and  Pieter  Molyn.  It  is  planned  diagonally,  the  perspec* 
tive  deepening  toward  the  right  from  a  corner  in  the  foreground; 
and  conditioned  by  this,  the  light  is  disposed  in  such  manner  that 
each  bright  portion  of  the  picture  alternates  with  a  dark  one,  so  that 
by  this  means  the  depth  of  space  is  more  definitely  rendered.  Also 
in  general  color  tone  and  in  technique  Isack  approaches  preceding 
works  more  closely  than  his  older  brother,  as  was  natural,  since  he 
was  young  (he  died  at  thirty^seven).  In  the  peasant  types  he  imitates 
his  brother ;  but  in  the  golden  color  scheme,  in  which  a  few  warm 
greenish^blue  and  yellowish^red  tones  are  prominent,  he  follows 
Rembrandt,  who  at  the  time  of  the  painting  of  this  picture,  the  for? 
ties,  was  at  the  height  of  his  reputation.  With  all  this  is  allied  a  sort 
of  romantic  apotheosis  of  peasant  life  on  the  Dutch  high-roads  which 
belongs  to  him  alone,  and  renders  his  achievement  the  perfected 
climax  of  the  method  first  followed  by  Molyn  and  Van  Goyen. 

Adriaen  is  more  realistically  and  perhaps  also  more  pedantically 
inclined,  but  his  execution  is  more  artistic  and  more  accomplished ; 
and  he  disposes  his  light  and  colors  more  evenly  and  harmoniously. 
It  is  in  a  picture  like  that  in  the  Borden  Collection  that  he  shows  him* 
self  to  advantage.  It  presents  the  best  of  his  art,  showing  neither  the 
somewhat  brutal  conception  of  his  earlier  works  nor  the  hard  col; 
oring  of  his  later  manner.  The  composition  seems  unintentional  but 
is  complete;  the  complex  arrangement  of  the  room  does  not  have  a 
restless  effect  despite  the  large  number  of  objects  on  the  walls,  while 
the  figures  give  a  happy  and  comfortable  impression. 

While  the  art  development  of  the  two  Ostades  shows  quite  de* 
cidedly  the  peaceful  spirit  of  the  Rembrandt  tradition,  we  find  in 
Wouwermans,  however,  a  late  representative  of  the  military  man* 
ner  o£  Frans  Hals.  It  may  be  said  that  he  is  the  last  painter  of  the 
soldier  subjects  favored  by  the  latter's  school,  although  his  style  is 
rather  reminiscent  of  Rembrandt's.  The  two  pictures  in  this  collec; 
tion  are  characteristic.  They  show  his  preference  for  scenes  of  action 

16 


from  military  or  country  life  in  the  restless  regions  affected  by  the 
war,  where  numerous  groups  of  figures  are  arranged  in  a  rich  and 
wellscomposed  picture.  His  motives,  filling  the  canvas  even  to  the 
corners,  are  inexhaustible;  the  drawing  and,  above  all,  the  move* 
ment  of  figures  and  animals — not  generally  the  strong  point  of  the 
Dutch  School — are  excellent;  and  the  technique  has  a  fluency  which 
hints  at  French  eighteenth  century  art.  The  superiority  of  the  artist, 
however,  as  compared  with  his  predecessors,  Palamedes,  Esaias  van 
de  Velde,  Duyster  and  others,  lies  in  his  understanding  of  the  art  of 
distribution.  Among  these  men  we  still  have  the  relief  conception 
of  Frans  Hals,  which  usually  permitted  the  consideration  of  only 
the  foremost  plane ;  here,  on  the  contrary,  we  find  the  plastic  style 
of  the  baroque  of  Rembrandt  and  his  contemporaries,  with  their 
greater  richness  and  variety  of  forms.  Whenever  the  figures  of  the 
foreground  allow  a  perspective  view,  the  eye  is  attracted  into  the 
middle  distance  by  spirited  figures,  and  new  motives  lead  still  further 
on,  out  into  the  background  where  ranges  of  hills  and  a  wellborn* 
posed,  plastically  clouded  sky  deepen  the  distance. 

Dutch  landscape  painting  is  represented  in  pictures  by  its  two 
most  important  masters,  Ruisdael  and  Hobbema ;  by  a  seascape  from 
the  brush  of  one  of  its  best  sea  painters,  Willem  van  de  Velde,  and 
a  landscape  of  dunes  by  Jan  Wynants.  The  first  among  these  men  is 
Jacob  Ruisdael,  who,  despite  a  momentary  vogue  for  Hobbema,  still 
remains  the  great  master  of  Dutch,  and,  in  fact,  of  all  earlier  lands 
scape  painting.  His  two  pictures  here  present  similar  motives — in 
each  case  a  waterfall  crossed  by  a  footbridge  and  bounded  by  rocky 
and  wooded  banks — and  both  date  from  the  later  period  of  the  artist. 
Pictures  of  this  kind,  of  which  Ruisdael  produced  a  large  number  in 
the  later  years  of  his  life ,  occasionally  suffer  the  not  ungrounded 
objection  that  they  are  too  consciously  composed  and  one  censures 
the  deficient  conception  of  the  artist  who  presumably  never  saw 
waterfalls  and  mountains.  This,  however,  is  not  the  case  in  his  best 
works,  of  which  the  great  waterfall  in  the  Borden  Collection  is  an 
instance.  It  manifests  in  the  highest  degree  the  poetic  feeling  which 
raises  the  artist  above  all  landscape  painters  of  his  time.  That  which 
we  so  often  find  wanting  in  Dutch  landscape  work,  the  feeling  of 

*7 


unity  to  which  all  detail  is  subordinated,  is  perfectly  expressed  in 
these  pictures  which  are  the  outcome  purely  of  the  imagination. 
The  longing  of  the  Dutch  people  for  the  mountain  scenery  which  is 
lacking  in  their  native  land  has  found  expression  at  the  hands  of 
Ruisdael  in  these  pictures  composed  of  strongly  drawn  mountains, 
tumbling  waterfalls  and  dense  oak  forests,  under  a  lowering  sky, 
broken  only  by  a  pale  green  sheen  at  the  horizon.  And  this  form  of 
expression  seems  to  us  actual,  because  the  artist's  fancy  and  his  ex= 
traordinary  memory  for  the  individual  features  of  nature  have  been 
guided  by  a  hand  tested  in  decades  of  experience ;  and  because  they 
are  the  creations  of  a  serious  and  reflective  mind,  which,  during  his 
later  years,  deeply  felt  the  noble  and  solemn  beauty  of  melancholy 
regions  overcast  with  gloomy  clouds,  where  he  was  more  at  home 
than  in  sunshiny  scenes. 

Compared  with  Ruisdael,  Hobbema  has  a  more  friendly  air ;  he 
does  not  wander  far,  but  exerts  all  his  powers  in  the  portrayal  of 
serene  and  poetic  forest  landscapes  such  as  he  sees  about  him.  This 
picture  of  the  Castle  of  Kostverloren  belongs  to  his  earlier  period, 
when  he  kept  especially  close  to  nature.  It  is  a  simple  study  which 
was  executed  in  the  autumn,  perhaps  on  the  spot,  or  after  only  slightly 
altered  preliminary  sketches  and  without  much  thought  for  compo; 
sition.  This  castle,  built  in  the  fifteenth  century  and  now  no  longer 
standing,  was  several  times  painted  by  the  artist.  In  one  of  his  pic* 
tures,  which  was  sold  at  Amsterdam  in  1907,  the  tower  is  seen  from 
the  side  where  stands  the  chimney,  and  in  the  wall  of  the  main  build* 
ing  the  remains  of  a  gable  may  be  distinguished. 

Jan  Wynants  also  presents  a  typical  Dutch  landscape  in  a  picture 
of  dunes  with  blasted  oaks  by  the  roadside,  a  landscape  of  the  type 
which  one  finds  in  Guelders,  a  region  which  because  of  its  dunes  and 
woods  often  lured  the  Haarlem  painters — of  whom  ^Vynants  was 
one — into  study  trips.  But  we  must  not  believe  that  this  landscape 
is  an  accurate  transcript  from  nature.  From  other  works  of  the  artist 
we  know  that  certain  features,  such  as  the  blasted  trees,  the  sandy 
road  leading  around  the  hillock  and  from  which  an  old  palesfence 
straggles  down,  and  even  the  deep  blue  sky  with  isolated  lumpy 
clouds,  are  typical  composition  motives  of  the  artist  that  have  been 

18 


used  by  him  often.  Though  handicapped  by  the  somewhat  hard  and 
lifeless  style,  which  is  particularly  characteristic  of  his  later  pictures, 
his  compositions  make  a  pleasant  impression  because  of  their  well* 
balanced  proportions  and  especially  when  they  are  enlivened  as  in 
this  case,  by  figures  painted  in  by  that  great  little  master,  Adriaen 
vande  Velde. 

In  Dutch  art,  paintings  of  the  open  sea  are  seldom  met  with,  no 
doubt  because  the  artistic  centres  of  the  country  being  mainly  inland 
the  artist  did  not  then  experience  the  desire — which  has  been  awak= 
ened  by  modern  city  life — to  settle  somewhere  on  the  seashore  far 
away  from  the  -world.  The  picture  by  Willem  van  de  Velde,  dated 
1661,  and  belonging  to  his  Amsterdam  period,  represents  not  the 
open  sea  but  the  Zuyder  Zee,  which  was  nearer  the  painter's  home. 
He  achieved  his  best  work  -when  depicting  a  quiet,  sunny  afternoon, 
with  the  water  clearly  mirroring  yellow  and  brown  sails,  and  ships 
outlined  in  the  distance  against  a  warm  hazy  sky. 

FLEMISH  SCHOOL 

THE  ensemble  o£  Flemish  painting  in  the  seventeenth  century  is 
not  as  many-sided  as  that  of  the  Dutch  School ;  above  all,  the 
specialists,  commanding  a  small  field  to  perfection,  are  lacking,  as 
though  they  had  been  unable  to  develop  beside  the  dominating 
Rubens.  It  is  therefore  quite  proportionate  to  the  representation  of 
the  Dutch  School,  in  this  collection,  that  Flemish  art  should  appear 
in  but  few  examples — a  portrait  by  Anton  van  Dyck  and  a  genre 
picture  by  David  Teniers. 

The  portrait  by  Van  Dyck  is  a  masterpiece  of  the  artist's  Antwerp 
period,  the  period  when  he  acquired  the  mastery  of  simple  noble 
forms,  and  showed  as  much  mental  composure  as  was  compatible 
with  his  restive  and  nervous  temperament.  The  wild  passion  of 
precocious  youth,  the  noisy  elegance  of  the  Genoese  period  had  been 
conquered,  and  the  artist  painted  in  his  home  city,  Antwerp,  a  series 
of  portraits  distinguished  by  an  intensive  characterization  of  the 
heads,  simple  firm  outlines,  and  a  reserved  gray  tone.  In  the  cares 
less,  indolent  position  of  the  hand  in  our  portrait  we  already  detect 
the  approaching  note  of  his  English  period,  but  the  quiet  and  im* 

*9 


pressive  head  shows  still  the  stamp  of  individuality.  A  late  copy  o£ 
this  picture,  which  is  still  catalogued  as  the  original,  is  now  in  the 
museum  at  Douai,  and  the  sitter  is  designated  as  Hubert  Duhot.  It 
is  a  moot  question  to  what  extent  this  designation  is  justifiable,  and 
whether  or  not  it  is  based  upon  tradition. 

Having  first  considered  Dutch  painting,  Flemish  pictures  seem  less 
varied  in  their  types,  less  individual  in  their  characteristics.  Teniers 
is  a  marked  example  in  point,  he  repeatedly  uses  the  same  types,  even 
upon  the  same  canvas.  For  instance,  the  lover  in  the  foreground  of 
the  picture  in  the  Borden  Collection  figures  also  as  one  of  the  men 
near  the  fireplace.  That  which  interests  us  principally  in  Flemish, 
as  compared  with  Dutch  painting,  is  the  fluent  technique  reminding 
one  of  French  art  and  sharply  distinguished  from  the  heavy  impasto 
of  the  Dutchmen,  as  well  as  the  omission  of  useless  details,  and  the 
bright  fresh  coloring  which  lends  even  to  serious  scenes  a  festive 
character.  In  this  particularly  well*preserved  and  excellent  example 
these  traits  are  pleasingly  obvious.  The  room  is  not  overburdened 
with  detail,  as  is  often  the  case  in  Dutch  interiors;  even  the  dog  and 
the  still4ife  are  painted  -with  a  freedom  and  a  feeling  for  essentials 
which  brings  to  mind  the  work  of  the  greatest  master  of  still;life  in 
France,  Chardin.  The  couple  in  the  foreground  is  not  only  well  com- 
posed and  excellently  drawn,  but  also  exceptionally  effective  in  its 
scheme  of  color,  notably  in  the  garments  of  the  woman,  her  blue 
skirt,  red  bodice,  white  shift  and  cap.  The  picture  depicts  that  peas- 
ant life  for  the  portrayal  of  which  Teniers  is  famous. 

ITALIAN  SCHOOL 

WE  do  not  stray  far  from  our  field  if,  in  conclusion,  we  consider 
two  paintings  of  the  Italian  School;  Venetian  views  by  Fran? 
cesco  Guardi — for  the  Venetian  School  is  more  intimately  related  to 
the  Dutch  than  is  any  other  of  the  Italian  Schools,  and  comparisons 
between  Dutch  and  Venetian  art  have  often  been  made.  The  simi; 
larity  lies  in  the  influence  exerted  upon  art  by  partly  similar  climatic 
conditions.  Much  moisture  in  the  atmosphere  creates  a  fine  silvery 
haze  which  veils  the  contours  of  the  objects  and  gives  greater  interest 
and  significance  to  atmospheric  appearances.  Dutch,  as  well  as  Ve= 

20 


netian  painting,  is  therefore  remarkable  in  its  rendering  of  air  and 
light,  and  among  the  Venetians  no  one  understood  how  to  reproduce 
in  his  pictures  the  shimmering  sun  of  Venice  as  Guardi.  Truly,  in 
the  art  o£  Guardi  we  are  considerably  removed  from  the  Nether? 
lands,  not  only  geographically,  but  because  the  sun  of  the  south  was 
an  inspiration  for  a  brighter  and  infinitely  more  brilliant  scale  of 
colors.  Perhaps  the  more  important  difference  is  that  of  time;  the 
great  Hollanders  belong  to  the  Baroque  period  with  its  feeling  for 
massive,  heavy  forms,  for  strong  contrasts  of  light  and  shade,  and 
for  cumbersome  drawing.  Guardi  is  a  representative  of  the  Rococo, 
which  transformed  heavy  forms  into  wellscomposed  masses,  straight 
broad  lines  into  short  and  elegant  curves,  and  which  brightened  chi= 
aroscuro  and  brought  out  scintillating  light.  If  we  compare  this  view 
of  the  square  of  St.  Mark  with  Mr.  Borden's  picture  by  Pieter  de 
Hooch,  where  the  artist  obviously  strove  for  elegance  and  brilliant 
light  effects,  it  is  evident  that  Guardi  belonged  to  a  more  advanced 
and  a  happier  time,  to  a  period  of  easier  living.  The  two  paintings, 
the  view  of  the  Canale  Grande  and  that  of  the  Piazza  San  Marco, 
are  small  but  excellent  examples  of  his  versatile  and  charming  art. 


21 


EARLY 

DUTCH,  FLEMISH  AND  ITALIAN 

MASTERS 


Early  Dutch,  Flemish  and 
Italian  Masters 

i  Aelbert  Cuyp 

2  Frans  Hals 

3  Meindert  Hobbema 

4  Pieter  de  Hooch 

5  Adriaen  van  Ostade 

6  Isack  van  Ostade 

7  Rembrandt  Harmensz.  van  Rijn 

8  Jacob  van  Ruisdael 

9  Jacob  van  Ruisdael 
io  Gerard  Terborch 

1 1  V/illem  van  de  Velde 

1 2  Philips  Wouwerman 
i  3  Philips  Wouwerman 

14  JanWynants 

1 5  Anton  van  Dyck 

16  David  Teniers  the  Younger 

1 7  Francesco  Guardi 

18  Francesco  Guardi 


[1] 

AELBERT  CUYP 

BORN  at  Dordrecht  in  1620.  Died  there  1111691.  Pupil  of  his 
father,  Jacob  Gerrits  Cuyp.  Primarily  influenced  by  Jan 
van  Goyen  and  Pieter  Molyn,  later  by  Rembrandt.  Painter 
of  landscapes,  portraits,  animals  and  still  life. 

MAN  EATING  MUSSELS 

On  the  right  of  the  canvas,  a  blacksmith,  wearing  a  golden? 
brown  jacket,  is  seated  in  his  smithy  beside  a  cask  eating 
mussels ;  a  small  boy  and  a  little  girl  who  wears  a  red  bodice 
and  a  white  apron  are  watching  him.  On  the  right  two  richly  - 
dressed  men  are  looking  through  a  window.  The  smith's  assis* 
tant  stands  in  the  left  background  in  the  shadow,  holding  a 
hammer  in  his  hand.  A  small  dog  lies  in  front  of  the  cask.  On 
the  left  a  cock  and  two  hens. 

Signed  at  the  lower  left:  A.  C. 

Panel:  H.  20V4  inches;  "W.  30V2  inches. 

This  picture  is  a  smaller  replica  of  the  painting  in  the  Boys 

mans  Museum  in  Rotterdam. 

J.  Smith:   A  catalogue  raisonne  of  the  work  of  the  most 

eminent  Dutch,  Flemish  and  French  painters,  London,  1829, 

No.  178. 

C.  Hofstede  de  Groot:  A  catalogue  raisonne  of  the  work  of 

the  most  eminent  Dutch  painters  of  the  seventeenth  century, 

London,  1909,  No.  50. 

Exhibited  at  the  Hudson=Fulton Celebration,  NewYork,  1909, 

No.  14. 

Sale  A.  Febvre,  Paris,  1882. 

Sale  Baron  de  Beurnonville,  Paris,  1883. 

Sale  F.  Zschille,  Cologne,  1889. 

Collection  Van  Loon,  Amsterdam. 

Collection  of  Baron  v.  d.  Heydt,  Berlin. 

26 


MAN  EATING  MUSSELS 

AELBERT  cuyp 


THE  REVEREND  CASPAR  SIBELIUS 

FRANS    HALS  • 


[2] 

FRANS  HALS 

BORN  at  Antwerp  in  1 584.  Died  at  Haarlem  in  1666.  Pupil 
o£  Karel  van  Mander.  Worked  mostly  in  Haarlem.  Painter 
of  portraits  and  genre. 

THE  REVEREND  CASPAR  SIBELIUS 

Half  length.  Turned  slightly  toward  the  right,  addressing  his 
congregation.  The  left  hand  is  raised  in  eloquent  gesture  and 
he  holds  a  small  prayer-book  in  the  right.  He  is  dressed  in 
black  with  a  white  outstanding  ruff  and  a  black  skull-cap. 

Signed  on  the  right:  Aetat  Svae  47,  An0  1637,  F.  Hals.  At 

the  top  of  the  canvas,  in  the  centre,  the  inscription  Natus 

1590  S  M  Functus  40. 

Panel:  H.  10V4  inches;  W.  8%  inches. 

Print  by  J.  Suyderhoef:   (1)  folio,  inscribed  ""1637  aet  48;" 

(2)  small  quarto  inscribed:  "1642  aet  53." 

Sibelius  was  born  in  Elberfeld  in  i5go,  and  preached  firsl:  in 

London,  then  in  Zurich,  and  finally  in  Deventer,  where  he 

died  in  1658.  From  "what  is  written  on  the  back  of  the  paint? 

ing  it  would  seem  that  Sibelius  presented  this  portrait  to  a 

certain  Professor  Hoffman. 

E.  W.  Moes:  Iconographia  Batavia,  No.  7176,  1  and  2. 

E.  W.  Moes:  Frans  Hals,  Bruxelles,  1909,  No.  74. 

Hofstede  de  Groot:  No.  226. 

Exhibited  at  the  Palais  du  Corps  Legislatif,  Paris,  1874. 

Exhibited  at  the  Hudson --  Fulton  Celebration,  New  York, 

1909,  No.  29. 

Collection  of  Hendrick  Gijselaar;  Assendelft,  Amsterdam, 

1891. 


31 


[3] 

MEINDERT  HOBBEMA 

BORN  at  Amsterdam  in  1 63  8;  died  there  in  1709.  Educated 
under  the  influence  of  Jacob  van  Ruisdael.  Worked  at 
Amsterdam  (seldom  after  1668).  Painter  of  wooded  land* 
scapes. 

CASTLE  KOSTVERLOREN 

In  the  centre  a  square  tower  of  red  brick,  with  four  steps 
gables,  rises  amid  crumbling  walls  from  the  castle  moat ;  four 
men  are  working  on  the  -walls.  Near  the  entrance  to  the  draw* 
bridge,  two  large  trees  with  autumn  foliage,  and  a  boy  with 
a  man  in  a  red  coat  walking  along  a  road.  Beyond  the  trees  a 
cottage  and  gate,  and  behind  the  castle,  on  the  opposite  side  of 
the  moat,  are  small  woods.  V/hite  clouds. 

Signed  in  the  lower  right-hand  corner:  M.  Hobbema. 

Canvas:  H.  22%  inches;  "W.  29 Va  inches. 

Smith,  No.  116. 

Exhibited  at  the  Hudson* Fulton  Celebration,  New  York, 

1909,  No.  47. 

Collection  of  Fred.  Perkins,  London  (1835). 


32 


CASTLE  KOSTVERLOREN 

MEINDERT   HOBBEMA 


$z 


j5*  j 

WW 

wSR'  H 

*  i 

Vi !  W ' 


.  Am 


THE  MUSIC  PARTY 

PIETER    DE    HOOCH 


[4] 

PIETER  DE  HOOCH 

BORN  at  Rotterdam  in  1629.  Died  at  Amsterdam  after 
1684.  Said  to  be  a  pupil  of  Nicolaes  Berchem.  His  early 
works  show  the  influence  of  the  soldier  painters  of  the  Frans 
Hals  school  and  of  the  pupils  of  Rembrandt,  especially  Karel 
Fabritius.  He  first  worked  mostly  at  Delft,  later  at  Amster? 
dam  (from  about  1665).  Genre  and  portrait  painter. 

THE  MUSIC  PARTY 

On  a  terrace  leading  at  the  rear  into  a  park  and  sheltered  by  a 
curtain  looped  against  a  pillar,  a  young  lady  is  seated  singing ; 
she  wears  a  white  silk  dress  and  marks  time  with  her  right 
hand.  A  cavalier  seated  at  the  opposite  side  of  the  table  ac? 
companies  her  on  the  lute.  A  young  lady,  dressed  in  blue, 
stands  resting  her  hand  on  the  table,  which  is  covered  with  a 
dark^red  Asia  minor  rug ;  another,  dressed  in  red,  carrying  a 
small  lute  in  her  right  hand,  advances  through  a  door  on  the 
right.  Beyond  the  park  a  building  resembling  the  Amsterdam 
Town  Hall  is  visible.  Evening  sky. 

On  the  right  hand  the  monogram  PH. 

Canvas:  H.  26  inches;  "W.  3i!/s  inches. 

About  1665=70. 

Smith  Suppl.,  No.  13;  Hofstede  de  Groot,  No.  136. 

Exhibited  at  the  Hudson* Fulton  Celebration,  New  York, 

1909,  No.  57. 

Sale  Nieuwenhuys  (Brussels)  in  London,  1833. 

Sale  Count  R.  de  Cornelissen,  Brussels,  1857. 

Sale  Gilkinet,  Paris,  1863. 

SaleVicomtede  Buisseret,  Brussels,  1891. 

Collection  of  Baron  Konigswarter  in  Vienna. 


37 


[5] 

ADRIAEN  VAN  OSTADE 

BORN  at  Haarlem,  1610;  died  there  in  1685.  Pupil  of  Frans 
Hals  and  influenced  by  Brouwer  and  later  by  Rembrandt. 
Worked  at  Haarlem.  Painter  and  etcker  of  genre  scenes. 

BACKGAMMON  PLAYERS  AT  AN  INN 

In  tke  centre  of  a  nomely  room  two  men  are  seated  at  a  table 
playing  backgammon.  Tke  man  on  tke  left,  dressed  in  yellow; 
brown  is  drinking ;  tke  man  on  tke  rigkt,  in  a  gray  costume, 
arranges  kis  pieces.  In  front  of  kim,  to  tke  rigkt,  a  peasant  in 
a  dark  bluejacket  and  dark  red  bonnet  is  seated  in  a  little  arm; 
ckair  witk  kis  back  to  tke  spectator.  Tke  kostess,  in  dark  blue 
dress  and  red  waist,  stands  fartker  back  to  tke  rigkt  of  kim  and 
offers  kim  a  glass.  At  tke  back  of  tke  table  two  otker  peasants 
in  conversation.  On  tke  left  a  little  dog  lies  on  tke  floor.  A 
door  leads  to  tke  cellar  at  tke  rigkt. 

Signed  above  tke  dog :  A.  V.  Ostade. 

Panel:  H.  14  inckes;  "W.  12V2  inckes. 

Mentioned  by  J.  B.  Descamps:  La  vie  des  peintres  flamands, 

allemands  et  kollandais  .  .  .   Paris,  1753 =64. 

Mentioned  by  Ck.  Blanc:  Le  tresor  de  la  Curiosite,  Paris, 

1857*58,11,169. 

Smitk,  No.  31  and 43. 

Hofstede  de  Groot,  No.  828  and  &2ig. 

Exkibited  at  tke  Royal  Academy,  London,  1892,  No.  97. 

Exkibited  at  tke  Guildkall,  London,  1894,  No.  66. 

Sale  Antkony  Sydervelt,  Amsterdam,  1766. 

Sale  Gerard  Braamcamp,  Amsterdam,  1771. 

Sale  P.  Calkoen,  Amsterdam,  1781. 

Sale  Calonne,  Paris,  1788. 

Sale  Calonne,  Paris,  1795. 

Collection  of  E.  H.  Lawrence,  London. 


38 


BACKGAMMON  PLAYERS  AT  AN  INN 

ADRIAEN   VAN    OSTADE 


PEASANTS  BEFORE  AN  INN 

ISACK   VAN    OSTADE 


B 


[6] 

ISACK  VAN  OSTADE 

ORN  at  Haarlem  in  1621 ;  died  there  in  1649.  Pupil  of  his 
brother,  Adriaen.  Worked  at  Haarlem. 


PEASANTS  BEFORE  AN  INN 

Two  peasant  houses  on  the  left  side  of  a  road  which  leads  to  a 
village  with  a  church  in  the  right  distance.  The  first  house  has 
an  arbor  near  which  some  peasants  are  drinking  and  smoking. 
In  the  foreground  to  the  right  a  table,  on  which  leans  a  peasant 
holding  up  a  glass  of  beer  to  a  woman  who  is  seen  from  behind. 
A  child  stands  nearby.  He  wears  a  gray=blue  coat  with  yeh 
low  sleeves,  and  the  woman  has  a  brown  costume  and  white 
head-dress.  A  little  to  the  rear  stands  a  group  of  two  peasants 
and  a  woman  with  a  child  in  conversation.  Before  the  second 
house  a  white  horse  feeding ;  a  man  and  a  little  girl  with  a  pail 
nearby.  A  man  is  leaning  over  the  house  door.  In  the  left  fores 
ground  an  overturned  basket.  Trees  behind  the  houses. 

Signed  on  the  stone  on  which  the  woman  sits. 
Panel :  H.  15  inches;  "W.  21V2  inches. 
Hofstede  de  Groot,  No.  242c. 
Sale  J.  de  Kommer,  Amsterdam,  1767,  No.  71. 


43 


[7] 

REMBRANDT  HARMENSZ  VAN  RIJN 

ORN  in  Leyden  on  July  15,  1606.  Died  in  Amsterdam  on 


B 


October  4, 1669.  Studied  under  Jacob  van  Swanenburgh 
in  Leyden  and  under  Pieter  Lawman  in  Amsterdam.  Lived 
in  Leyden  till  1631,  then  in  Amsterdam.  In  1634  be  married 
Saskia  van  Uilenburgb,  who  died  in  1642.  His  second  wife 
was  Hendrickje  Stoffels,  who  died  in  1663.  Painter  and  etcher 
of  portraits  and  religious  subjects;  of  genre  pictures,  mytho* 
logical,  allegorical  and  historical  scenes. 

LUCRETIA  STABBING  HERSELF 

More  than  half4ength.  The  figure,  with  head  slightly  inclined 

to  the  left,  faces  the  spectator.  With  her  right  hand  she  points 

a  dagger  at  her  breast,  while  the  uplifted  left  hand  is  extended 

toward  the  spectator.  She  wears  a  rich  greenish^gold  colored 

dress  with  wide  sleeves  and  a  laced  bodice ;  around  her  throat  a 

necklace  of  pearls  and  a  string  with  a  pendant;  a  pearl  in  her 

ear. 

Signed  on  her  left:  Rembrandt  f.  1664. 

Canvas:  H.  46^2  inches; W.  39  inches. 

Smith,  No.  192;  E.Dutuit,Oeuvrecompletde  Rembrandt,  Paris, 

1883,  p.  58,  No.  114;  E.  Michel,  Rembrandt,  Paris,  1893,  pp. 

489,  563;  W.  Bode,  (assisted  by  C.  Hofstede  de  Groot):  The 

Complete  Works  of  Rembrandt,  Paris,  1897  ff,  No.  595;  W. 

R.  Valentiner,  Rembrandt  (Klassiker  der  Kunst),  1910,  p.  647. 

Exhibited  at  the  Hudson* Fulton  Celebration,  New  York, 

1909,  No.  105. 

Sale  Prince  Paul  Demidoff,  San  Donato,  1880. 

Collection  Lapeyriere,  Paris,  1825. 

Anonymous  Collection,  London,  1826. 

Collection  of  M.  Zachary,  London,  1828. 

Collection  of  J.  H.  Munro,  Novar. 

Anonymous  Collection,  London,  1889. 

44 


LUCRETIA  STABBING  HERSELF 

REMBRANDT   HARMENSZ   VAN   RIJN 


-i*.j^i  .zt:t 


X  ;'•  '.i  V.l  ?<•  '.*  V/O*-  5  ><AK>  V,l 


^'ft' 


c; 


c 


/ 1 


y 


[6U    »  -v-v v;i>'V>o;no,ocIt^Pcl'iiOloc<,,i3^r>cav^Pci 


THE  CASCADE 

JACOB    VAN    RUISDAEL 


[8] 

JACOB  VAN  RUISDAEL 

BORN  at  Haarlem  1111628=29.  Died  there  in  1682.  Probably 
a  pupil  of  Cornelius  Vroom  and  his  uncle  Salomon  Ruys* 
dael.  V/orked  at  Haarlem  and  at  Amsterdam  (1657*1681). 
Landscape  painter. 

THE  CASCADE 

A  little  lake  extends  from  the  left  of  the  canvas  towards  the 
right,  where  it  forms  a  cascade  spanned  by  a  wooden  bridge.  A 
man  wearing  a  red  jacket,  carrying  a  sack  on  his  back  and 
followed  by  a  dog,  is  walking  over  the  bridge.  Three  men  are 
fishing  from  the  left  shore  of  the  lake ;  on  its  further  shore  three 
houses  s1:and  on  hilly  ground.  To  the  right  an  oak  wood,  and 
beyond  a  chain  of  distant  hills.  Dark  gray  clouds  in  a  pale 
blue  sky. 

Signed  on  the  lower  left :  J  v  Ruisdael  (JvR  combined). 

Canvas:  H.  281/2  inches ;W.  35V2  inches. 

Exhibited  at  the  HudsonsFulton  Celebration,  New  York, 

1909,  No.  116. 

Sale  Pereire,  Paris,  1872. 

Sale  Prince  Paul  Demidoff,  San  Donato,  1880. 

Collection  of  the  Duke  of  Mecklenburg,  1854. 


49 


[9] 

JACOB  VAN  RUISDAEL 

A  WATERFALL 

ABROAD  stream,  which  comes  out  underneath  a  little 
wooden  bridge  in  the  middle  distance,  flows  from  the 
right  and  breaks  down  between  rocks  in  the  foreground.  A 
high  bank  on  the  opposite  side  to  the  left  is  thickly  covered 
with  oak  trees,  some  of  which  have  autumn  leaves.  On  the 
bridge,  which  leads  to  the  lower  bank  at  the  right,  two  men  in 
conversation ;  a  third  man  is  walking  to  the  left  accompanied 
by  a  dog.  Behind  the  bridge  a  single  oak  tree  stands  against  the 
sky  with  reflection  of  light  on  its  branches,  and  farther  back 
a  gray=blue  hill.  Another  single,  but  thinner,  tree  on  the  right 
bank.  The  blue  sky  is  almost  covered  with  dark  gray  clouds 
with  pink  borders. 

Signed  in  the  right  foreground:  J  v  Ruisdael  (JvR combined). 
Canvas:  H.  26 V2  inches;  "W.  21  inches. 


5o 


:a 


A  WATERFALL 

JACOB   VAN    RUISDAEL 


*vft 


LADY  POURING  WINE 

GERARD    TERBORCH 


[10] 

GERARD  TERBORCH 

BORN  at  Zwolle  in  1617.  Died  at  Deventer  in  1681.  Pupil 
o(  his  father  and  Pieter  Molyn ;  influenced  by  Frans  Hals, 
Rembrandt  and  Velazquez.  Traveled  in  Germany,  Italy,  Spain, 
England  and  France.  Worked  mostly  at  Deventer.  Painter  of 
genre  scenes  and  portraits. 

LADY  POURING  WINE 

Three  halflength  figures.  On  the  left  a  young  woman  in  a 
red  jacket  and  a  gray  skirt  pours  wine  from  a  pewter  flagon 
for  a  man  sitting  on  the  right,  who  looks  back  towards  her,  as 
the  old  mother  standing  behind  her  daughter  offers  him  a  plate 
of  food.  He  wears  a  dark  suit  and  a  large  black  hat. 

Panel:  H.  13  inches;  "W.  io|4  inches. 

Smith  Suppl.,  No.  22. 

Exhibited  at  the  Hudson?  Fulton  Exhibition,  New  York,  1909, 

No.  129. 

Collection  Van  Loon,  Amsterdam,  1842. 


55 


[II] 

WILLEM  VAN  DE  VELDE 

BORNatLeydenini633.  Died  at  Greenwich  in  1677.  Pupil 
of  his  father,  Willem  van  de  Velde  the  elder  and  o£  Simon 
deVlieger.  Worked  at  Amsterdam  and  from  1673  at  London. 
Marine  painter. 

CALM  SEA 

A  boat  with  large  creamscolored  sails  lies  in  a  hay  extending 
towards  the  left  of  the  canvas.  A  smaller  boat  is  anchored  be; 
side  it.  In  the  left  foreground  a  dyke  fortified  with  piles,  on 
which  are  seen  two  men.  A  boat  with  three  fishermen  at 
work  in  it  lies  nearby.  A  fourth  man  advances  along  the  shore 
from  the  right,  carrying  a  basket  on  his  back.  Jusr  beyond,  two 
men  are  bathing  off  a  little  promontory  where  a  sailboat  has 
been  beached.  Several  frigates  are  lying  at  anchor  at  the  mouth 
of  the  bay.  Afternoon  light.  Warm  yellowish  clouds  in  a  blue 
sky. 

Signed  on  a  piece  of  wood  in  the  foreground:  WW.  V.  1661. 
Canvas:  H.  14V2  inches;  W.  18%  inches. 
Exhibitedat  theHudson^Fulton  Celebration,  New  York,  1909, 
No.  134. 


& 


CALM  SEA 

WILLEM    VAN    DE   VELDE 


GROOMS  WATERING  HORSES 

PHILIPS    WOUWERMAN 


[12] 

PHILIPS  WOUWERMAN 

BORN  at  Haarlem  in  1619;  died  there  in  1668.  Pupil  of  his 
father,  of  Frans  Hals  and  Pieter  Verbeeck.  He  was  for  a 
time  at  Hamburg  and  was  possibly  in  Italy.  Painter  and  etcher 
of  landscapes  and  scenes  with  horses. 

GROOMS  WATERING  HORSES 

At  a  broad  river,  crossing  the  picture  diagonally,  horses  are 
being  ridden  in  and  out  of  the  water.  On  the  left  a  large  stone 
bridge  with  two  arches  leads  to  a  town  in  the  distance.  A 
man  on  the  left  whips  a  horse  to  make  it  enter  the  water.  To 
the  right  of  him  a  groom,  with  a  boy  behind  him,  rides  a  white 
horse  out  of  the  water.  Farther  right  another  rider  lets  his  horse 
stand  and  drink;  it  is  seen  from  the  back.  Near  these  are  two 
bathers  and  two  men  undressing.  Farther  in  the  river  are  two 
restive  horses  near  a  boat.  On  the  opposite  bank  are  washer? 
women.  To  the  left,  through  the  front  arch  of  the  bridge,  is 
seen  a  harvest  wagon,  which  is  being  loaded. 

Signed  with  the  full  monogram. 

Panel:  H.  13%  inches;  W.  18V2  inches. 

Engraved  by  Champollion. 

Mentioned  by  G.  F.  Waagen,  Treasures  of  Art  in  Great  Bri= 

tain,  London,  1854,  II,  p.  291.  Smith  Suppl.  7,  No.  170.  Hof 

stede  de  Groot,  No.  112. 

Exhibited  in  London,  1853. 

Sales  Earl  of  Ashburnham,  London,  1850  and  i860. 

Sale  Miss  Bredel,  London,  1875. 

Sale  Nieuwenhuys,  London,  1881. 

Collection  of  the  Earl  of  Ashburnham,  1842. 

Collection  of  M.  de  Saint  Albin,  Paris. 

Collection  of  Comte  Arthur  de  Vogue,  Paris. 

61 


[13] 

PHILIPS  WOUWERMAN 

THE  SUTLER'S  BOOTH 

IN  front  of  a  sutler's  booth  with  a  flag  and  a  garland  on  the 
left  are  some  horsemen  and  two  ladies.  On  the  extreme  left 
stands  a  man  in  profile  to  the  right.  Next  to  him,  and  farther 
back,  are  a  lady  on  horseback  and  a  mounted  trumpeter.  Next 
to  him  is  a  gray  horse,  without  a  rider,  facing  right.  Next 
come  a  lady,  seen  from  the  back,  and  an  officer  who  caresses 
her  -with  one  hand  and  rests  the  other  on  the  saddle  o£  his 
horse,  whose  head  is  turned  away.  In  the  right  middle  dis* 
tance  is  a  group  of  soldiers  with  an  ensign  among  them.  Be* 
yond  on  a  broad  plain  is  a  camp.  Three  dogs  play  in  front. 

Signed  with  the  monogram. 

Canvas:  H.  19%  inches;  "W.  25  V4  inches. 

Smith,  No.  178. 

Hofftede  de  Groot,  No.  866,  and  Suppl.,  No.  64. 

Engraved  in  Jean  Moyreau:  Oeuvres  de  Ph.  Wouwermans 

gravees  dapres  ses  meilleurs  tableaux,  Paris,  1737=62  (new  edi= 

tion,  Paris,  1843),  No.  77  as  "Les  Quartiers  desVivandiers". 

Le  Brun  Collection,  Paris,  1754. 

Sale  Montribloud,  Paris,  1784. 

Sale  Claude  Tolozan,  Paris,  1801. 

Sale  Lapeyriere,  Paris,  1817. 

Sale  London,  1835. 

Sale  Adrian  Hope,  London,  1894. 


62 


THE  SUTLER'S  BOOTH 

PHILIPS    WOUWERMAN 


HILLY  LANDSCAPE  WITH  GROVE  OF  TREES 

JAN   WYNANTS 


[14] 

JAN  WYNANTS 

BORN  at  Haarlem  about  1620.  Died  very  likely  at  Amster* 
dam  in  1682.  Worked  in  Haarlem  until  about  1660,  tken 
in  Amsterdam.  Dated  works  from  1641  to  1679.  landscape 
painter. 

HILLY  LANDSCAPE  WITH  GROVE  OF  TREES 

A  road  leads  from  tke  foreground  around  a  kill  to  a  grove  of 
trees.  At  tke  left,  at  tke  side  of  tke  road,  a  traveller,  in  pink 
coat  and  yellow  trousers,  talks  to  a  woman  seated  on  tke 
ground.  A  dog  nearby.  Anotker  road  leads  down  tke  kill 
tkrougk  a  gate  of  a  trellis,  wkick  surrounds  tke  kill  and  joins 
tke  first  road  in  tke  foreground  near  a  little  pool.  A  woman 
witk  a  bundle  on  ker  kead,  accompanied  by  a  dog,  descends 
from  tke  kill.  In  tke  rigkt  foreground  two  gnarled  oak  trees 
and  some  skrubbery.  Bekind  tkese  are  wooded  kills  and  a 
cornfield.  Around  it  leads  a  road  along  wkick  a  korseman 
and  a  peasant  are  advancing.  Blue  sky  witk  rising  dark  gray 
clouds  witk  yellow  borders. 

Signed  in  tke  left  foreground:  J.  Wynants,  An.  1663. 

Canvas:  H.  19%  inckes;  W\  24 14  inckes. 

Tke  figures  are  by  tke  kand  of  Adriaen  van  de  Velde. 


67 


[15] 

ANTON  VAN  DYCK 

BORN  at  Antwerp  in  1599.  Died  at  London  in  1641.  Pupil 
of  Hendrik  van  Balen  and  worked  in  the  atelier  of  Rubens. 
In  England  for  the  first  time  in  162 1.  1622=27  traveling  in  Italy, 
especially  in  Venice,  Rome  and  Genoa.  1627:31  in  Antwerp, 
1632  in  London.  Painter  of  religious  and  mythological  sub; 
jects  and  especially  of  portraits.  With  Rubens,  chief  master 
of  the  Flemish  School. 

PORTRAIT  OF  A  GENTLEMAN 

Three=auarters  length,  standing,  seen  in  front,  the  head  slightly 
turned  to  the  right.  He  has  a  moustache  and  small  pointed 
beard,  the  hair  combed  back.  The  left  hand  hangs  down;  the 
right  is  covered  by  a  mantle  which  is  thrown  over  his  should 
ders.  Black  costume  with  white  ruff.  Dark  gray  background. 

Canvas:  H.  44  inches;  "W.  37!^  inches. 

Painted  in  the  second  Antwerp  period,  about  1630.  A  copy 

of  the  picture  is  in  the  Museum  of  Douai  under  the  name  of 

"Portrait  of  Hubert  Duhot." 

Reproduced  in :  E.  Schaffer,  Van  Dyck,  (Klassiker  der  Kunst), 

1909,  p.  243. 


68 


PORTRAIT  OF  A  GENTLEMAN 

ANTON   VAN   DYCK 


WOMAN  SMOKING  IN  AN  INN 

DAVID   TENIERS   THE   YOUNGER 


[16] 

DAVID  TENIERS  THE  YOUNGER 

BORN  at  Antwerp  in  1610.  Died  at  Brussels  in  1590.  Pupil 
of  his  father,  David  Teniers  the  elder.  Influenced  by  Rubens 
and  especially  by  Brouwer.  Worked  at  Antwerp  (member  of 
the  guild  since  1632)  and  at  Brussels.  Painter  and  engraver. 

WOMAN  SMOKING  IN  AN  INN 

To  the  left  sits  a  woman  in  a  graysblue  petticoat,  white  skirt 
and  pink  waist,  lighting  a  pipe.  A  peasant  nearby  puts  his  arm 
around  her  neck  and  offers  her  a  glass  of  wine.  He  wears  a 
brown  coat  and  dark  brown  bonnet.  To  the  right  of  the  group 
a  barrel,  on  which  stands  an  earthen  jug,  a  pot  and  a  napkin. 
A  little  dog  rests  quietly  in  the  left  foreground.  In  the  back* 
ground  an  open  door  and  a  chimney=piece  with  a  fire,  near 
which  two  men  are  standing  and  conversing  and  a  third 
warms  his  feet.  In  the  right  foreground  a  still  life.  Plain  gray 
background  from  which  the  figure  of  the  woman  stands  out 
clearly. 

Signed  in  the  left  corner:  D.  Teniers. 

Canvas:  H.  14%  inches;  W.  20  V2  inches. 

Smith,  No.  377. 

Sale  Claude  Tolozan,  Paris,  1801. 

Sale  London,  1818. 

Sale  John  Webb,  London,  1821. 


73 


[17] 

FRANCESCO  GUARDI 

BORN  at  Venice  in  1712;  died  there  in  1793.   Pupil  and 
follower  of  Antonio  Canale.  Worked  mostly  in  Venice. 
Painter  of  architectural  and  perspective  views. 

THE  PIAZZA  OF  SAN  MARCO,  VENICE 

View  on  the  piazza  from  the  side  of  the  Church  of  San  Marco. 
In  the  left  foreground  the  lower  part  of  the  tower  of  San  Marco 
and  a  part  of  the  logietta.  The  galleries  extend  to  the  right  and 
left,  the  left  side  being  in  shadow.  In  the  foreground  two 
bronze  flag  holders.  Ladies  and  gentlemen,  seen  mostly  from 
behind,  in  pink,  yellow  and  white  costumes,  are  saluting  and 
walking  over  the  piazza;  the  gentlemen  wear  long  mantles, 
three-cornered  hats  and  the  hair  in  braids ;  the  ladies  wear  side 
dresses  with  long  trains.  Light  blue  sky  with  lighter  yellow 
rays  to  the  left  where  the  sun  has  disappeared. 

Canvas:  H.  o^M  inches;  "W.  14  inches. 


74 


THE  PIAZZA  OF  SAN  MARCO,  VENICE 

FRANCESCO    GUARDI 


THE  GRAND  CANAL  NEAR  THE  PIAZZA 
OF  SAN  MARCO,  VENICE 


FRANCESCO    GUARDI 


[18] 

FRANCESCO  GUARDI 

THE  GRAND  CANAL  NEAR  THE  PIAZZA  OF 
SAN  MARCO,  VENICE 

A  VIEW  from  Santa  Maria  della  Salute.  To  the  left  the 
libreria  and  the  column  of  San  Marco,  behind  which 
a  part  of  the  Doge's  palace  is  visible.  The  canal,  with  some 
simple  houses,  behind  which  are  some  towers  and  domes, 
extends  to  the  right.  A  large  galleon  in  the  centre  of  the  water 
and  a  smaller  one  to  the  right;  another  on  the  land  to  the  left. 
Numerous  gondolas  with  simple,  or  with  richly  decorated, 
baldachinos  in  the  foreground,  in  which  are  seated  people  in 
light  red  and  blue  costumes.  White  reflections  on  the  blue 
-water  and  the  boats.  Silver  blue  sky  with  light  pink  horizon. 

Panel:  H.  9I/4  inches;  Wr.  13%  inches. 


79 


PAINTINGS  OF 
THE  ENGLISH  MASTERS 


PAINTINGS  OF 
THE  ENGLISH  MASTERS 

By  August  F.  Jaccaci 

|^^^^^^^^^^XN  Mr.  Borden's  collection  of  English  pictures,  all 
W^^^Ami^^)^\  l^e  leacun§!  eighteenth  century  portrait  painters, 
v^^^^B^f^^^n  with  the  exception  of  Raeburn,  are  represented. 
^^^^^Bu^^^^  In  a  manner  of  their  own  suited  to  the  taste  and 
^^^^■^^^^^  needs  of  the  period,  the  painters  of  this  school 
fe^^j^Jj^^^^H;  carried  on  the  gracious  and  urbane  style  of  Van 
jjS^2il^Si^^b^3A(  Dyck,  as  well  as  the  traditions  of  the  old  Italian 
masters,  especially  those  of  theVenetians,  which  came  partly  through 
Van  Dyck,  and  in  the  case  of  Sir  Joshua  were  renewed  at  their  source. 
A  certain  union  of  dignity,  grace,  ease,  and  the  adaptability  of  the 
portrait  to  a  decorative  arrangement  as  established  by  the  painters  of 
the  grand  life  of  Venice,  by  Titian  especially,  is  thus  carried  into  the 
eighteenth  century,  but  the  subjects  and  the  art  are  native.  While 
the  Italian  tradition  predominates  only  in  the  works  of  the  famous 
first  president  of  the  Royal  Academy,  and  the  production  of  each 
artist  has  its  originality  and  distinct  characteristics,  its  marked  d.if= 
ference  of  temperament  and  education,  all  endeavored  to  give  the 
particular  elegance,  the  well*bred  manner  which  -was  the  cachet  of 
English  society  at  the  time,  all  found  their  individual  mode  of  express 
sion  within  this  general  desire — and,  no  doubt,  necessity — to  depict 
the  refinements  of  life.  Hence  their l  "air  de  famine."  They  all  are,  like 
their  illustrious  predecessor  Van  Dyck,  painters  of  fashion,  who  only 
saw  their  sitters  (whether  of  high  or  low  degree)  in  attitudes  and  with 
expressions  which  were  recognized  as  de  bon  ton  in  the  fashionable 
world.  Even  when  they  were  not  men  of  culture,  they  reflected  the 
amenities  and  polite  graces  of  their  cultured  milieu.  We  may  add  that 
it  was  their  great  good  fortune — and  ours — that  the  taste  of  their  time 

83 


was  good,  and  the  costumes  simple,  most  becoming  and  eminently 
paintable.  Pictorially  and  psychologically  the  portrait  painters  of 
tne  eighteenth  century  English  School  have  met  their  problem  and 
used  their  material  with  fine  results,  and  deservedly  achieved  a  great 
success. 

Mr.  Borden's  collection  comprises  some  typical  examples.  In 
"Miss  Morris"  the  seriousness  and  intellectual  weight  which  belong 
to  Sir  Joshua,  the  acknowledged  head  of  the  school,  and  to  him  alone, 
are  clearly  evident ;  and  they  are  here  allied  to  a  sense  of  composition 
quite  free  from  conventional  canons.  The  ingratiating  personality 
of  this  straightforward,  innocent  and  sensible  young  lady  is  rendered 
with  authority  as  -well  as  kindly  understanding.  With  all  that  innate 
elegance  which  is  the  distinguishing  mark  of  the  art  of  the  period,  this 
canvas  has  the  poise,  the  dignified  tenderness  of  the  artist;  and  the 
grave  sympathy,  the  unaffected  and  penetrating  straightforwardness 
of  its  portraiture,  are  revealed  in  the  noble  simplicity  of  its  treatment. 

Gainsborough's  portrait  of  "Miss  Horde"  has  all  hisverve,  finesse 
and  his  unrivaled  piquancy  of  execution.  The  lightness  and  grace 
of  this  work  in  oils  has  the  playfulness  of  touch,  the  daintiness  of 
improvisation,  of  a  pastel,  and  is  admirably  suited  to  the  presentation 
of  so  vivacious,  spirituelle,  and  entirely  sophisticated  a  young  per; 
son.  Sitter  and  painter  present  the  critical  and  philosophical  attitude 
of  the  eighteenth  century.  The  artful  simplicity  of  pose  and  costume 
give  extraordinary  interest  and  importance  to  the  "sguardo,"  the 
look  in  the  eyes,  and  to  the  smiling  mouth.  This  most  expressive 
and  delightful  piece  of  characterization  is  carried  out  in  a  subdued 
and  harmonious  scheme  of  color. 

The  dash,  abandon  and  supreme  cleverness  of  the  great  virtuoso 
of  the  school,  Sir  Thomas  Lawrence,  are  fully  revealed  in  his  ' '  Miss 
Kent."  And  it  is  the  more  valuable  an  example  that  it  retains  the 
freshness  and  attractiveness  of  a  happy,  thoroughly  artistic  and  satis; 
fying  improvisation.  Cleverness  allied  with  elegance  and  painter; 
like  feeling  can  go  no  further.  Costume  and  draperies  are  merely 
brushed  in,  and  in  contrast,  the  head  which  is  carried  much  farther, 
acquires  the  finished  bloom  of  a  perfect  flower.  The  face  in  profile  is 
representative  of  the  English  "beauty"  of  the  time,  for  it  is  evident 

84 


that  the  "classic"  type,  which  was  then  in  fashion,  affects  the  por* 
traiture. 

Romneyhas  a  full  and  varied  representation.  An  important  com* 
position,  "the  Willet  Children;"  an  almost  fuMength  portrait  said 
to  be  the  "Countess  of  Glencairn,"  and  an  idealistic  representation 
of  his  favorite  model,  Emma  Lyon  (Lady  Hamilton)  as  Madonna, 
whose  pseudo*religious  character  gives  the  manner  in  which  the 
classical  subjects  of  the  Italian  School  were  adapted  to  the  taste  of 
polite  English  society  of  the  time.  The  Countess  is  an  entirely  repre* 
sentative  picture,  although  the  lower  part  of  the  dress  has  either 
been  repainted  or  was  finished  by  another  hand.  The  natural  and 
graceful  pose,  which  recalls  another  celebrated  portrait  of  the  artist, 
Miss  Frances  Woodley,  brings  out  the  feminine  charm  of  the  no 
more  young  but  still  most  attractive  sitter.  The  debonnaire  treat* 
ment  has  an  easy  assurance  and  a  summary  decorative  sweep.  The 
lady  who  is  not  absolutely  identified  may  be  the  Lady  Bell  Cunning* 
hame,  of  whom  according  to  Romney's  ledger  (under  No.  33)  he 
painted  a  half  length  and  two  whole*length  portraits,  of  which  only 
one  was  finished.  Lady  Bell  was  Lady  Isabelle  Erskine,  second 
daughter  of  the  Tenth  Earl  of  Buchan.  She  was  first  married  to 
William  Leslie  Hamilton,  and  secondly  to  the  Rev.  John  Cunning* 
hame,  who  afterwards  became  the  Fifteenth  Earl  of  Glencairn.  We 
have  a  list  of  the  many  sittings  she  gave  to  Romney  during  her  first 
and  her  second  marriage. 

The  large  and  important ' k  Willet  Children"  is  beautifully  handled 
in  an  assured  and  convincing  manner  of  presentation,  which  is  so 
thoroughly  suited  to  the  subject  as  to  be  a  part  of  it.  Its  composition 
seems  as  spontaneous  as  its  technique ;  both  have  the  look  of  being 
born  together  by  happy  chance.  The  background  is  amusing  in  its 
rapidly  sketched  indication  of  a  landscape  motive,  but  it  also  plays 
its  part  well  in  the  general  arrangement,  and  in  tone  and  color  it 
admirably  fulfills  its  function  of  bringing  out  the  figures.  The  group* 
ing  o£  the  children  might  seem  casual,  but  in  reality  it  is  carefully 
thought  out  and  is  most  effective — only  there  is  no  trace  of  effort, 
all  is  perfectly  natural;  yet  poses,  faces  and  expressions  are  full  of 
character  and  each  child  has  his  clearly  defined  individuality.  One 

85 


feels  sure  that  here  are  good  portraits.  And  when  one  remembers 
how  few  great  portraits  of  children  there  are  in  the  whole  field  of 
art,  one  realizes  how  precious  is  this  rare  gift,  this  true  understand; 
ing  of  childhood  which  Romney  shows  in  such  a  canvas.  It  is  one 
of  his  most  successful  works,  and,  like  the  "Countess  of  Glencairn," 
it  has  that  unaffected  grand  air  which  is  what  eighteenth  century- 
patrons  desired  and  what  remains  to  us  also  a  large  part  of  their 
appeal. 

In  the  Hoppner  "Miss  Arbuthnut"  we  find  the  same  viewpoint 
as  in  the  works  of  the  other  and  greater  men,  and,  in  a  measurable 
way,  it  achieves  the  same  success.  It  is  a  triumph  of  distinguished 
and  rather  sophisticated  simplicity.  Out  of  most  ordinary  material, 
of  a  face  with  no  particular  beauty  or  specially  marked  character,  the 
eighteenth  century  convention  (a  most  happy  one  in  this  instance), 
while  expressing  enough  of  the  real  facts,  presents  them  with  so 
fine  a  sense  of  elegance  and  breeding  that  as  a  result  the  picture  is 
extremely  attractive.  The  excellence  of  the  general  arrangement 
makes  one  pass  over  the  faulty  draughtsmanship  in  the  lower  part 
of  the  figure.  One  wonders  if  the  artist  was  deprived  of  the  one 
more  sitting,  or  the  few  more  moments  he  needed.  But  it  may  well 
be  that  the  artist  did  not  care,  and  why  should  we?  Are  not  all  the 
essentials  of  the  portraits  there,  all  that  is  significant  and  matters? 
Does  not  the  work  tell — as  it  should — and  tell  gracefully  and  with 
most  capable  understanding?  Is  not  the  characterization  excellent, 
the  landscape  background  fine  and  the  whole  result  delightful? 

When  these  portrait  painters  make  use  of  nature  in  their  back; 
grounds,  they  cannot  but  arrange  it  to  suit  their  purpose.  Having  to  be 
subordinated  to  the  figures,  it  has  to  be  treated  artificially — much  like 
a  piece  of  tapestry  suspended  behind  the  sitter.  Even  Gainsborough, 
who  was  both  landscape  and  portrait  painter  (and  seldom  introduced 
landscape  backgrounds  in  his  portraits),  and  who  painted  some  excel; 
lent  landscapes  during  his  early  period  when  he  took  his  inspiration 
from  the  Dutch  masters  and  was  concerned  with  real  facts,  soon  fell 
into  making  use  of  nature  in  painting  landscapes  which,  while  deco; 
rative  and  beautiful,  are  essentially  arbitrary  arrangements. 

86 


The  English  landscape  painters  on  the  contrary  went  straight  to 
nature  for  their  facts  and  their  inspiration.  Of  course  they  knew  and 
admired  the  Dutch  and  Flemish  masters  and  they  loved  Claude,  but 
they  took  their  subjects  from  the  familiar  nature  around  them,  and 
to  express  themselves  they  developed  a  manner  of  their  own.  They 
mark  the  starting  point  of  modern  landscape.  Constable  was  the 
precursor  of  the  great  Frenchmen  of  1830,  and  we  know  what  a 
revelation  his  work  was  to  them  and  how  it  inspired  them. 

Of  him  Mr.  Borden  has  a  small  early  example,  "The  Sluice,"  one 
of  those  thorough  studies  of  facts  upon -which  are  built  the  fresh,  lus= 
cious  and  radiant  achievements  of  his  maturity. 

"The  Willow"  is  one  of  the  most  important  and  best  known  pic? 
tures  of  John  Chrome  ("Old  Chrome").  It  figured  twice,  in  1876  and 
1891,  at  Winter  Exhibitions  of  Old  Masters  at  Burlington  House, 
and  is  considered  the  artist's  masterpiece  by  Mr.J.C.Horsley,  R.  A., 
who  selected  the  English  pictures  for  both  exhibitions.  The  two 
old  trees  which  dominate  the  composition  give  it  a  nobly  dramatic 
character.  V/arm  glowing  color  is  allied  to  solidity  of  construction, 
the  peaceful  country  stretching  out  to  the  distance  is  bathed  in  soft 
sunshine ;  in  the  moist  and  luminous  sky,  tenuous  summer  clouds 
float  across  the  azure.  In  this  picture  the  dignity  of  a  Dutch  formal 
composition  is  united  to  a  fresh  native  outlook.  While  this  Dutch 
influence  is  marked,  Chrome  is  too  real,  too  profoundly  sensitive  to 
nature  itself,  for  the  work  to  be  in  any  way  derivative,  it  is  English 
to  the  core.  One  would  say  that  the  attitude  of  this  sturdy  British 
artist  makes  him  nearer  to  Ruysdael  than  to  Hobbema.  Like  him,  his 
very  serious  and  elevated  mind  dwells  upon  the  more  significant 
and  deeper  aspects  of  nature.  In  the  serenity  and  the  ever  young 
beauty  of  a  summer's  day,  those  two  vigorous  old  trees,  bearing  the 
marks  of  the  struggles  of  years  with  the  elements,  have  a  rugged 
grandeur,  which  imposes  itself  and  give  a  lyric  quality  to  the  whole 
picture. 

Of  the  two  Turners  in  the  collection,  the  small  one  belonging  to 
his  early  period,  a  seascape  with  strong  opposition  of  sunlit  and  dark 
masses,  shows  the  harbor  of  Dover  in  the  middle  distance.  The  larger 
one,  "The  Regatta  Bearing  to  Windward,"  is  a  representative  and 

87 


masterly  example  of  the  second  and  best  period  of  the  artist.  It  is  one 
of  the  scenes  of  yacht  racing  in  the  Solent  which  he  either  painted 
at,  or  during  his  visit  to,  East  Cowes  Castle,  the  Isle  of  Wight  seat 
of  his  friend  Mr.  Nash  (the  great  architect  of  the  Quadrant,  Regent 
Street,  etc.),  in  the  autumn  of  1827.  Together  with  a  companion  pic; 
ture,  "The  Regatta  with  the  Royal  Yacht  Squadron  Parting  from 
its  Moorings,  "which  is  now  in  the  Sheepshank's  collection  at  the 
Victoria  and  Albert  Museum  (No.  210),  it  was  painted  for  Mr.  Nash 
and  exhibited  at  the  Royal  Academy  in  1828.  That  these  yacht 
racing  subjects  fascinated  him  may  be  seen  by  the  five  examples,  all 
of  smaller  size,  which  are  in  the  Turner  collection  at  the  National 
Gallery  (Nos.  1993,  1994,  199^  x997^  I99^)- 

This  picture,  which  with  the  Sheepshank's  example  is  the  best  of 
the  series,  illustrates  not  a  romantic  but  a  real  phase  of  the  artist's 
mind.  Soberly  conceived  and  soberly  carried  out  it  nevertheless  ex? 
presses  the  poetry  as  well  as  the  bustling  spirit  of  the  scene.  The 
clear  joyous  sheen  of  sunlight  on  sea,  boats  and  distance,  the  won* 
derfiil  and  exquisite  atmospheric  quality  have  never  been  surpassed 
by  him  and  show  him  at  his  highest.  No  one  but  him  could  have 
painted  such  a  sky,  of  such  infinite  depth,  in  so  high  a  key,  so  suffused 
with  tender  light,  and  so  alive  and  mouvemente. 

There  is  animation  everywhere  and  tumult  on  the  sea.  The  fluidity 
and  weight  of  the  rough  water,  the  force  of  the  wind  filling  the  sails, 
and  the  rush  of  the  boats  as  they  drive  through  the  big  waves,  are 
marvelously  expressed.  In  subjects  of  this  kind,  objective,  pregnant 
with  observation  and  vital  sympathy,  Turner  cannot  be  surpassed. 
It  is  not  the  picturesqueness  of  the  scene,  but  its  life  and  truth — its 
dramatic  quality — that  appealed  to  him  and  appeals  to  us  to*day. 

George  Morland's  intimate  pastoral  note  is  an  excellent  example 
of  the  work  of  this  honest  and  most  sympathetic  artist,  in  which 
pigs,  a  donkey,  a  dog  and  a  countryman  are  used  to  express  the  poet; 
ical  charm  of  an  English  rural  scene  bathed  in  soft  summer  sunshine. 
Painted  in  a  minor  key,  it  fitly  represents  this  modest  man,  who  is 
a  genuine  artist  and  not  merely  popular  and  pretty.  To  appreciate 
Morland's  value  as  a  painter  we  have  only  to  compare  him  with  the 
Victorians  who  followed.  We  can  enjoy  his  donkeys  and  his  pigs 

88 


as  we  enjoy  those  of  Decamps,  and  he  has  a  tenderness  and  a  charm 
all  his  own. 

In  its  atmospheric  quality  Nasmyth's  "Edinburgh  from  Gogar" 
shows  the  influence  of  Claude  and  the  classical  tradition  is  also  felt 
in  its  artful  and  effective  architectonic  arrangement.  From  the  fore* 
ground,  all  lines  carry  the  eye  towards  the  centre  of  the  picture, 
where,  far  away  looming  up  as  the  focus  of  the  whole  composition, 
the  Castle  dominates  the  city  -which  is  lying  at  its  feet.  Tree  masses 
very  dark  in  the  foreground,  less  dark  in  the  middle  distance,  bring 
out  and  emphasize  the  shimmering  beauty  of  the  distance,  the  glow* 
ing  lightness  of  the  sky  and  its  reflection  in  the  water. 

A  life-size  portrait  of  a  child  holding  a  parrakeet  on  her  hand, 
"The  Pet  Bird"  by  Sir  John  Millais,  is  a  rather  late  work,  -which  for 
its  subject  is  more  interesting  than  usual.  Opus  CCXXXII  of  Sir 
Alma  Tadema  is  a  scene  -with  two  maidens  seated  in  the  loggia  of  a 
Roman  villa.  Both  are  characteristic  examples  of  the  two  most  pop* 
ular  artists  of  the  modern  English  School  at  the  end  of  the  nineteenth 
century.  (Sir  Alma  Tadema,  although  a  Hollander  born  and  bred, 
belongs  to  the  English  School.  He  has  done  all  his  -work  in  England, 
and  is  still  painting  there). 


89 


ENGLISH  MASTERS 


English  Masters 


*9 

Sir  Joshua  Reynolds 

20 

Thomas  Gainsborough 

21 

Sir  Thomas  Lawrence 

22 

George  Romney 

23 

George  Romney 

24 

George  Romney 

25 

John  Hoppner 

26 

John  Constable 

27 

John  Chrome 

28 

Joseph  Mallord  William  Turner 

29 

Joseph  Mallord  William  Turner 

30 

George  Morland 

31 

Patrick  Nasmyth 

32 

Sir  John  Everett  Millais 

33 

Sir  Laurenz  Alma  Tadema 

[19] 

SIR  JOSHUA  REYNOLDS,  P.  R.  A. 

English  School,  1723*1792 

MISS  MORRIS 
(Afterwards  Mrs.  Lockwood) 

FULL  BUST,  life  size,  portrait  of  a  young  lady  facing  the 
spectator.  The  expression  of  her  face  is  simple  and  girlish; 
the  eyes  are  dark,  the  dark  hair  plainly  combed  back  from  the 
face  is  ornamented  by  an  aigrette  of  red  velvet  adorned  with 
a  string  of  small  pearls.  She  is  dressed  in  a  gray  silk  robe  with 
a  low  round  opening  at  the  neck  having  a  band  of  gold  em? 
broidery  edged  with  lace.  In  the  center  of  this  band  is  a  velvet 
bow  with  pendant  through  which  is  caught  a  strand  of  large 
pearls  coming  from  under  an  outer  garment,  a  jacket  of  light 
blue  silk  richly  embroidered  and  trimmed  with  ermine.  A 
jeweled  clasp  holds  the  bodice  in  the  center.  The  light  falls 
from  the  left  and  the  background  is  a  sky  treated  convene 
tionally. 

Size :  H.  24 V2  inches; "W.  29I4  inches. 

C.  R.  Leslies'  "Life  and  Times  of  Sir  Joshua  Reynolds":  Vol.  I, 

p.  156. 

Sir  Walter  Armstrong's  "Sir  Joshua  Reynolds."  Catalogue. 


94 


MISS  MORRIS 

SIR   JOSHUA    REYNOLDS,    P.    R.    A. 


MISS  ANN  HORDE 
Thomas  gainsborough,  r.  a. 


[20] 

THOMAS  GAINSBOROUGH,  R.  A. 

English  School,  1727*1768 

MISS  ANN  HORDE 

OVAL,  life  size,  bust  portrait  of  a  young  lady  turned  three* 
quarters  to  the  left  and  looking  at  the  spectator.  Her  eyes 
are  blue,  her  light  hair,  curled  and  powdered,  is  encircled  with 
a  blue  silk  ribbon,  and  at  her  neck  is  a  string  of  amber  beads. 
She  wears  a  close-fitting  blue  silk  dress,  with  a  fichu  of  trans* 
parent  lawn  over  the  neck  and  shoulders,  and  a  scarf  of  light 
silk  material  at  the  waist ;  a  dainty 'white  underbodice  shows  a 
little  at  the  neck  and  fills  the  V*  shape  opening  edged  with 
white  silk  ribbon,  which  starts  at  the  bottom  and  ends  at  the 
waist  under  a  sash  of  light  silk  material.  Brown  background. 

Size:  H.  28  V2  inches;  W.  24  inches. 
Sale  Horde  (of  Norfolk). 


99 


[21] 

SIR  THOMAS  LAWRENCE,  P.  R.  A. 

English  School,  1769*1830 

MISS  KENT 

LIFE  SIZE  busr  portrait  of  a  young  lady  seen  in  profile  to 
the  left  against  a  dark  background.  Her  dark  hair  -with 
golden  brown  lights  brings  out  the  brilliant  color,  the  "milk 
and  roses,"  of  her  face.  She  wears  a  white  dress  with  a  large 
V*  shape  opening  at  the  neck.  A  golden  yellow  drapery  is 
thrown  over  her  right  shoulder  and  arm,  while  the  right  hand 
rests  over  a  light  crimson  drapery  thrown  over  the  back  of  a 
chair. 

Size:  H.  20//2  inches; "W.  24 V2  inches. 


100 


MISS  KENT 

SIR   THOMAS    LAWRENCE,    P.    R.    A. 


my«mwivm>? 


'ifrmmr. 


CEoHCE~  r 


&£ 


THE  WILLETT  CHILDREN 

GEORGE    ROMNEY 


[22] 

GEORGE  ROMNEY 

English  School,  1734*1802 

THE  WILLETT  CHILDREN 

THE  portrait  of  three  children,  a  brother  and  his  sisters, 
with  a  landscape  background  filled  with  an  evening  sky 
against  which,  to  the  right,  is  broadly  sketched  a  group  of  trees. 
The  two  girls,  dressed  in  white,  are  sitting  on  the  ground.  The 
boy  stands  at  the  left,  his  blonde,  long  and  curly  hair  framing  his 
face  which  is  turned  towards  the  spectator,  his  hands  are  thrust 
in  his  pockets,  and  his  whole  attitude  is  one  of  boyish  self 
reliance.  He  wears  a  reddish  brown  silk  costume,  a  white  col= 
lar  fluted  on  the  edge,  white  stockings  and  shoes  with  buckles. 
The  little  girls  are  holding  hands.  The  older  sister  in  the  center 
faces  forward  and  looks  up  at  her  brother;  the  younger  one  to 
the  right  faces  the  background,  but  her  head  is  turned  around 
and  she  looks  mischievously  at  the  spectator;  both  wear  sashes, 
the  one  on  the  right  of  blue,  the  bow  of  which  is  seen  at  her 
back,  the  other  of  yellowish  brown. 

Size :  H.  59  inches;  W.  47  inches. 

Humphrey  Ward  and  W.  Roberts'  "Romney,"  Vol.11,  p. 171. 


105 


[23] 

GEORGE  ROMNEY 

SECOND  EXAMPLE 

COUNTESS  OF  GLENCAIRN(?) 

(Lady  Isabella  Erskine,  wife  of  Rev.  John  Cuns 
ninghame,  XV  Earl  of  Glencairn,  was  the  second 
daughter  of  the  tenth  Earl  of  Buchan.  Her  first 
husband  was  Wrn.  Leslie  Hamilton.) 

LIFE  SIZE,  full  length.  A  young  woman  stands  in  an  easy 
pose  with  right  knee  bent,  the  right  arm  resting  upon  a 
high  pedestal,  the  hand  raised  to  the  head  which  is  turned  full 
three-quarters  to  the  right  with  the  eyes  looking  up.  Her  dark 
hair  dressed  with  silk  ribbons  falls  on  the  shoulders.  Her  left 
hand  hanging  gracefully  down  holds  the  soft  crimson  drapery 
which,  folding  over  her  right  arm  and  showing  along  her  left 
side,  serves  to  bring  out  the  white  of  her  very  simple  dress 
opened  V*  shape  at  the  neck  and  with  dark  blue  sash  at  the 
waist.  The  stone  pedestal,  the  large  vase  surmounting  it  and 
the  tree  trunks  behind  it  form  a  solid  dark  background  to  the 
left,  while,  to  the  right,  the  background  is  filled  with  sky  with 
foliage  at  the  top  and  a  bit  of  landscape  showing  at  the  bottom. 

Size:  H.  6814  inches;  W.  47  inches. 

(The  identity  of  the  lady  is  not  absolutely  established.  Romney's 
Ledger,  under  No.  33,  Lady  Bell  Cunninghame,  registers  two 
whole4engths  and  one  halflength  of  the  lady.  (See  Humphrey 
Ward  and  W.  Roberts'  "Romney,"  Vol.  II,  p.  69.) 
Collection  CunninghamsGraham. 


106 


COUNTESS  OF  GLENCAIRN(?) 


GEORGE    ROMNEY 


LADY  HAMILTON  AS  MADONNA 

GEORGE    ROMNEY 


[24] 

GEORGE  ROMNEY 


Third  example 


LADY  HAMILTON  AS  MADONNA 

SMALL  life  size  portrait,  showing  little  more  than  the  head. 
The  body  is  turned  away  from  the  spectator  and  the  face, 
full  threesquarters  to  the  right  and  with  the  eyes  looking  up* 
wards,  is  framed  in  a  soft  and  transparent  drapery  which 
covers  the  head  and  shoulders. 

Size:  H.  17V2  inches;  "W.  15  inches. 


in 


[25] 

JOHN  HOPPNER,  R.  A. 

English  School,  1758*1810 

MRS.  ARBUTHNOT 

LIFE  SIZE  full  length  portrait  of  a  young  woman,  partly 
sitting  and  partly  kneeling,  facing  the  spectator.  Her  right 
arm  rests  upon  a  rock  at  her  side  and  rocks  and  trees  make  a 
dark  background  behind  her,  but  to  the  right  the  sky  shows 
above  a  bit  of  landscape  with  trees  and  a  distant  hill  decora* 
tively  treated.  Her  face  is  turned  full  three*quarters  towards 
the  left  and  inclined  with  a  pensive  expression ;  her  light  hair 
is  dressed  with  light  silk  ribbons.  She  wears  a  light  lawn 
dress  with  a  cambric  fichu  at  the  neck  and  a  sash  at  the  waist. 
In  her  right  hand  which  rests  in  her  lap  she  holds  some  flowers. 

Size:  H.  49I4  inches;  W.  39V2  inches. 

Wm.  McKay  and  W.  Roberts'  "John  Hoppner,"  p.  5. 

Collection  Sir  Henry  Hawley. 


112 


MRS.  ARBUTHNOT 

JOHN   HOPPNER,    R.    A. 


THE    SLUICE 

JOHN    CONSTABLE 


[26] 

JOHN  CONSTABLE 

English  School,  1776*1837 

THE  SLUICE 

NEAR  the  center  of  the  composition  a  torrent  of  water 
comes  foaming  down  an  old  sluice,  and  rushes  into  a  little 
canal  to  the  right  and  outside  the  picture.  The  sluice  is  con? 
structed  of  brick  walls  reinforced  by  rough  hewn  timbers, 
and  spanned  by  a  rustic  bridge.  The  point  of  vision  is  from 
below,  and  seen  in  sharp  perspective  along  the  sky  line  are: 
at  the  left,  the  head  and  back  of  a  white  horse,  the  heads  of  a 
man  and  woman,  and  a  column  of  smoke.  In  the  center  are  a 
group  of  trees  and  flowering  shrubs,  and  at  the  right  a  man 
holding  a  staff  is  leaning  against  the  extended  fence^rail  of  the 
bridge.  Among  wild  flowers  and  grasses,  in  the  picturesque 
foreground,  are  the  beams  which  brace  the  side  of  the  canal. 
Summer  sky  with  clouds. 

Size:  H.  11  %  inches;  W.  15%  inches. 


117 


[27] 

JOHN  CHROME 

English  School,  1769*1821 

THE  WILLOW 

THE  composition  is  dominated  by  a  group  of  trees — a  birch 
to  the  left,  and,  in  the  center,  two  large  willows — rising 
on  the  banks  of  a  little  brook  which  almost  fills  the  foreground. 
At  the  foot  of  the  willows  is  a  bit  of  fence  beyond  a  rustic 
bridge.  On  the  right  bank  of  the  stream,  a  peasant  on  a  pony 
is  talking  with  a  peasant  woman.  Beyond  them  the  distant 
landscape  shows.  The  scene  is  bathed  in  summer  sunshine; 
the  blue  sky  being  almost  covered  with  soft  white  clouds. 

Size:  49V2  inches;  W.  39V2  inches. 

Exhibited  at  Winter  Exhibitions  of  Old  Masters  at  Burling* 

ton  House  in  1876  (No.  280  of  the  Cat.),  and  in  1891  (No.  33), 

when  owned  by  Mr.  George  Holmes. 

Sale  (about  1870)  of  the  best  known  collection  of  pictures  of 

the  Norwich  School,  the  Sherrington  collection,  (bought  by 

Mr.  George  Holmes,  from  whom  it  came  into  Mr.  Borden's 

collection). 


11 


8 


THE  WILLOW 

JOHN   CHROME 


THE  CLIFFS  AT  DOVER 

JOSEPH    MALLORD    WILLIAM    TURNER,    R.    A. 


as 


[28] 

JOSEPH  MALLORD  WILLIAM 
TURNER,  R.  A. 

English  School,  1775*1851 

THE  CLIFFS  AT  DOVER 

UNDER  a  dramatic  sky,  where  big  sunlit  clouds  contrasting 
with  a  very  dark  cloud  to  the  left,  allow  only  a  glimpse  o£ 
the  blue  to  show  at  the  zenith,  a  rough  sea  full  of  motion  is  seen 
in  alternate  patches  of  sunlight  and  shadow.  In  the  background 
lying  between  its  high  chalky  headlands  is  the  harbour  and 
town  of  Dover.  Tossed  on  the  waves  in  the  foreground  a  boat 
is  being  rowed  towards  a  small  sailboat,  heading  landward,  on 
which  a  couple  of  sailors  are  watching  its  approach. 

Signed  on  the  stern  of  the  row  boat:  J.  M.  "W.  Turner. 
Size:  H.  17V2  inches;  "W.  24  inches. 


123 


[29] 

JOSEPH  MALLORD  WILLIAM 
TURNER,  R.  A. 


SECOND  EXAMPLE 


EAST  COWES  CASTLE,  THE  SEAT  OF 

J.  NASH,  ESC). -THE  REGATTA 

BEARING  TO  WINDWARD 

THE  yachts  are  sailing  through  a  broken  sea  showing  a  big 
swell  in  the  foreground,  where  to  the  left  a  buoy  is  floating. 
In  the  center  is  a  group  of  row  boats  rilled  with  men,  behind 
which,  moored  at  the  foot  of  the  yellow  cliff  upon  which  East 
Cowes  Castle  stands,  is  the  guardship  and  other  vessels  gaily 
decked  with  flags.  To  the  right  of  the  row  boats  is  the  foremost 
yacht  with  its  sails  dark  against  the  light  sky.  It  is  luffing  to 
prevent  being  blanketed  by  a  second  yacht,  whose  mainsail 
alone  is  visible.  To  the  left  of  the  row  boats,  the  nearer  yacht 
is  close  hauled;  beyond  in  a  line  extending  to  the  edge  of  the 
canvas  the  remaining  yachts  are  bearing  away  with  their 
sheets  started.  To  the  extreme  right  in  the  distance  is  seen  a 
bit  of  shore  with  some  buildings  and  before  it  a  ship  under  sail. 
The  sunlight  flecks  the  sea  and  sails.  A  brisk  breeze  is  blowing, 
the  sails  are  filled  and  the  flags  stands  out  stiffly  in  the  wind. 

Size:  H.  35I/2  inches;  Wr.  47V2  inches. 

Exhibited  at  the  Royal  Academy  1828. 

Algernon  Graves'  "The  Royal  Academy  Contributors,"  etc, 

1828,  No.  113. 

Sir  W' alter  Armstrong's  "J.  M.  W.  Turner,"  p.  220. 

Catalogue  of  E.  W.  Parker,  Esq.,  No.  100. 

Collection  J.  Nash,  East  Cowes  Castle,  Isle  of  Wright. 

Collection  E.W\  Parker,  J.  P.,  Skirwith  Abbey, Cumberland. 


124 


THE  REGATTA  BEARING  TO  WINDWARD 

JOSEPH    MALLORD    WILLIAM    TURNER,    R.    A. 


RUSTIC  SCENE 

GEORGE    MORLAND 


[30] 

GEORGE  MORLAND 

English  School,  1763?  1804 

RUSTIC  SCENE 

OCCUPYING  the  center  of  the  picture  in  the  foreground 
a  sow  is  lying  down  with  her  two  young  ones  against  a 
heap  of  manure  and  straw,  where,  towards  the  right,  a  pig  is 
searching  for  food.  Behind  it  a  farm  hand,  a  youth,  his  hands 
crossed  and  resting  on  the  handle  of  his  shovel,  faces  forward 
and  smiles  at  a  white  dog  who  perched  on  the  top  of  the  pile 
looks  at  him  in  an  expectant  attitude.  At  his  left  a  donkey  seen 
in  profile  quietly  stands ;  at  his  right  is  a  low  thatchedsroof 
stable  with  its  door  opened ;  behind  him  are  bushes ;  at  the  ex* 
treme  right  a  bit  of  country  is  seen.  Soft  summer  sky  with  a 
big  filmy  grey  cloud. 

Signed  at  bottom  towards  the  left:  G.  Morland  1792. 
Size:  H.  19V2  inches;  "W.  25V2  inches. 
Has  been  engraved  in  mezzotint. 


129 


[31] 

PATRICK  NASMYTH 

English  School,  1787=1831 

EDINBURGH  FROM  GOGAR 

A  SUMMER  LANDSCAPE  with  a  rare  sense  of  space. 
In  the  extreme  distance  and  almost  in  the  center  of  the 
picture,  the  high  castle  of  Edinburgh  looms  up  as  an  appari* 
tion  against  a  sky  flooded  with  light,  and  at  its  feet  lies  the  city, 
its  jumble  of  buildings  seen  beyond  groves  of  trees.  All  this 
lies  beyond  the  middle  distance,  the  lines  of  the  composition 
lead  up  towards  it,  while  the  darker  and  larger  masses  of  trees 
standing  to  right  and  left  on  the  banks  of  the  Gogar  and  their 
accompanying  reflections  in  the  water  emphasize  the  shims 
mering  atmospheric  beauty  of  this  background.  The  presence 
of  the  Gogar  is  first  revealed  by  a  stone  bridge  to  the  right;  the 
river  appears  near  it  in  the  center  and  changing  direction 
twice  swiftly  flows  towards  the  foreground  to  the  left,  exs 
panding  so  as  to  fill  the  whole  width  of  the  picture.  A  bit  of 
low  shore  in  the  foreground  to  the  right  shows  grasses  and 
reeds,  and  the  beginning  of  a  brick  garden  wall ;  on  the  oppo- 
site bank  to  the  left,  which  is  in  strong  shadow,  are  some  farm 
buildings  under  tall  trees  and  figures  of  three  women. 

Size:  H.  11  inches;  W.  15V2  inches. 
Collection  F.  Whitehead  (Leamington). 


130 


13  HOflUaHL 


EDINBURGH  FROM  GOGAR 

PATRICK    NASMYTH 


THE  PET  BIRD 

SIR   JOHN    EVERETT   MILLAIS,    P.    R.    A. 


[32] 

SIR  JOHN  EVERETT  MILLAIS,  P.  R.  A. 

English  School,  1829*1896 

THE  PET  BIRD 

FACING  towards  the  left,  a  little  girl,  nearly  life  size  and 
three-quarters  length,  stands  with  her  head  turned  for* 
ward,  her  eyes  looking  straight  at  the  spectator.  A  lace  bonnet 
is  placed  upon  her  light  brown  hair,  which  is  banged  across 
the  forehead  and  loose  and  wavy  at  the  back.  She  holds  on  the 
forefinger  of  her  right  hand  a  green  parakeet,  and  her  left  arm 
hangs  at  her  side.  Her  rich  silk  dress  is  embroidered  with  a 
large  allsover  pattern  in  delicate  colors — light  salmon^pink, 
white  and  cool  greys  blending  harmoniously,  and  has  a  beau* 
tiful  lace  band  edging  the  opening  at  the  neck,  and  lace  cuffs. 
The  dark  background,  representing  a  tapestry  with  trees  and 
foliage,  emphasizes  the  brilliant  colouring  of  the  figure. 

Signed  at  the  lower  left  corner  with  monogram  and  "1883." 
Size:  H.  36  inches;  "W.  25 V4  inches. 


J35 


[33] 

SIR  LAURENZ  ALMA  TADEMA,  R.  A. 

English  School,  1836s 

UNWELCOME  CONFIDENCE 

IN  the  loggia  of  a  Roman  villa  two  young  women  facing  the 
spectator  are  seated  on  the  fleecy  fur  thrown  over  a  marble 
bench;  their  feet  are  resting  upon  a  tiger  skin  lying  on  the 
marble  floor,  and,  to  their  right,  a  richly  chased  silver  vase 
filled  with  lilacs  stands  on  a  large  coffer  covered  with  a  tap; 
estry .  Behind  them,  partly  framed  with  the  beginning  of  an 
arch  to  the  left,  is  the  sunshiny  background  of  sea  and  sky 
against  which  their  heads  sT:and  out  in  strong  relief,  and  where 
a  fruit  tree  in  blossom  and  a  marble  group  of  two  figures  set 
upon  a  large  pedestal  break  the  line  of  the  horizon.  One  of  the 
young  women  confides  to  the  other  some  secret,  probably  of 
the  heart,  which  evidently  falls  on  reluctant  ears.  The  cos* 
tumes,  one  of  light  greyish  blue,  the  other  purplish,  contrast 
and  harmonize ;  the  attitudes  are  graceful  and  expressive.  The 
picture  is  full  of  light  and  the  spirit  of  youth. 

Signed  at  bottom  towards  the  right:  L.  AlmaTadema,  opccxxxii 
Size:  H.  17V2  inches;  W.  11^/4  inches. 


136 


UNWELCOME  CONFIDENCE 

SIR    LAURENZ   ALMA   TADEMA,    R.    A. 


GETTY  CENTER  LIBRARY         J^ 

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